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431:. The irony, Judah notes, is that the Patriarch is leading his people away from their promised land. The Patriarch and four other figures dominate the composition, staggering unevenly across the canvas as opposed to moving in a straight line. "They punctuate the foreground," Filipovitch-Robinson writes, "directing the eye through the diagonals and curves of their bodies and gesture to the next line of figures behind them. Each subsequent line leads to the next." All age groups are represented in the painting, and JovanoviÄ pays special attention to their facial details. Thousands of figures on horseback and on foot appear in the background before eventually receding into the horizon. The left background shows Serbian warriors pointing their lances at the sky while the right background shows lumber wagons carrying families into exile. At the right foreground, an old man herds his sheep. To the right of the Patriarch, a mother and her infant son sit atop a horse carrying their belongings. The woman is the young wife of militia leader
655:(1900). This view is shared by the art historian Jelena MilojkoviÄ-DjuriÄ, as well as Judah. Filipovitch-Robinson praises JovanoviÄ's "uncompromising realism" and commends his portrayal of the migrants. She writes that the PanÄevo version "validates JovanoviÄ as an insightful commentator on ... Balkan history", and is indicative of "the methodology and technical skill which had already brought him international acclaim." JovanoviÄ "persuades the viewer of the believability and authenticity of the event," she writes. "He captures the determination, strength, and dignity of a people. Regardless of the reasons for this migration, they move forward in unison to meet the hard challenges of an unknown land."
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had originally caused the migration to take place; the Church maintained that
Arsenije was simply heeding the call of the Holy Roman Emperor to head north. Having studied Ruvarac's work, JovanoviÄ came to hold the view that fear of Ottoman persecution, rather than the desire to protect the Habsburg frontier, had prompted the migrants to leave their homes. JovanoviÄ duly took the painting back to his studio and altered it to the Patriarch's liking, removing the sheep, lumber wagons, and the woman and her infant son, putting stylized warriors in their place. He also placed the letter Leopold had supposedly sent the Serbs inviting them to settle Vojvodina in the hand of
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126:, and presented to Patriarch Georgije later that year. Dissatisfied, the Patriarch asked JovanoviÄ to adjust his work to conform with the Church's view of the migration. Though JovanoviÄ made the changes relatively quickly, he could not render them in time for the painting to be displayed in Budapest, and it therefore had to be unveiled at the Archbishop's palace in
628: ... an instantly recognizable of the 500-year struggle against the Ottoman Turks." Professor David A. Norris, a historian specializing in Serbian culture, calls JovanoviÄ's approach "highly effective", and writes how the stoic attitude of the priests, warriors and peasants reminds the viewer of the historical significance of the migration. He asserts that
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unknown, and it is presumed lost. In 1945, as the war neared its end, a wealthy
Serbian merchant named Milenko ÄaviÄ commissioned a fourth and final version, incorrectly assuming that the others had been destroyed in the fighting. ÄaviÄ gifted the painting to the MandukiÄ family at the war's end. They emigrated to the United States following the
640:, "transforming ... folk memory into a more modern vehicle for the invention of a new national ideology based on the Serbian struggle for freedom from foreign domination." Art historian Michele Facos describes the painting as a celebration of the Serbs' "valiant effort to defend Christian Europe against ... the Ottoman Turks."
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While working on the copy that the
Patriarch had commissioned, JovanoviÄ began a second version of the painting, one that retained the woman and her child, the herd of sheep and the wagons carrying refugees. This, Filipovitch-Robinson asserts, is indicative of "JovanoviÄ's firmness of conviction and
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Upon first seeing it, Georgije was displeased by
JovanoviÄ's depiction of the exodus, particularly the sight of sheep and wagons carrying women and children, saying it made the migrants look like "rabble on the run". The source of the Patriarch's displeasure lay in differing interpretations of what
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would help legitimize Serb claims to religious autonomy and partial self-administration in
Austria-Hungary. The official Church narrative held that Leopold had requested that the Serbs of Kosovo, Macedonia and the Sandžak settle along the OttomanāHabsburg frontier to create a buffer against further
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and some degree of self-administration, much to the displeasure of the Roman
Catholic Church and Hungarian authorities. Leopold recognized Arsenije as the leader of Habsburg Serbs in both religious and secular affairs, and indicated that this power would be held by all future Archbishops. In 1712,
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reproductions of the painting for the next fifty years. Such prints became quite popular, and could be found in Serb homes up to the end of the 20th century. As the PanÄevo version was the first to be lithographically reproduced, it became the best known rendition. It was displayed at the 1900
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At the height of World War II, JovanoviÄ created a third version on behalf of a
Belgrade physician named Darinka Smodlaka, who requested that the figure of Monasterlija's wife bear her likeness. This version measured 65.2 by 96.5 centimetres (25.7 by 38.0 in). Its current whereabouts are
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Ottoman encroachment, and Church officials intended for
JovanoviÄ's painting to reflect this view. Hence, the painting had significant political implications. Habsburg Serbs asserted that the agreement between Arsenije and Leopold legitimized their claim to the lands they inhabited.
598:
of the city in April 1941. Several authors have noted similarities between
JovanoviÄ's depiction of the migration and images of other upheavals in Serbian history. Historian Katarina TodiÄ observes that there are striking similarities between the painting and photographs of the
336:, but PrediÄ said it would take him two years to complete the painting. JovanoviÄ assured the Patriarch that he could finish the work in eight months. The painting was one of two works that JovanoviÄ was hired to paint for the Exhibition, the other being the
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and the child his son. A mustachioed warrior walks before them with swords fastened to his belt and a rifle resting against his shoulder, "striding purposefully into the future". The warrior's right arm is smeared with blood and bound by a white sling.
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The commission offered
JovanoviÄ the opportunity to make a name for himself as a serious history painter, given that the subject of the work was an event of international significance and the painting was to be displayed in a foreign capital. To ensure
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approach of contemporary landscape painters, showing he was "at ease with the art of the past and that of his own time". The composition marked a significant departure for JovanoviÄ, who up until that point had painted mostly
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version" as it was acquired by the PanÄevo Museum in the 1970s. Shortly after its completion, the rights to the PanÄevo version were purchased by Zagreb art collector Petar NikoliÄ, who secured the right to publish
215:. The Habsburgs began to retreat, prompting thousands of Serb villagers to leave their homes and flee north fearing Ottoman reprisals. In Serbian historiography, this event came to be known as the
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was historically accurate, JovanoviÄ studied authentic medieval weapons, costumes and other objects, later incorporating them into the composition. He also studied medieval histories, collected
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artistic integrity." The second version was smaller than the first, measuring 126 by 190 centimetres (50 by 75 in). Like the first, it was completed in 1896, and came to be called the "
480:, a priest riding beside Arsenije. Although these changes were made relatively quickly, JovanoviÄ could not render them in time for the painting to be displayed in Budapest. Hence, only the
284:, reaffirm Hungary's "national and territorial legitimacy" and the Hungarian people's "natural and historical right in the areas they inhabited." The Exhibition was to be held at Budapest's
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1631:
Filipovitch-Robinson, Lilien (2014). "From Tradition to Modernism: UroÅ” PrediÄ and Paja JovanoviÄ". In BogdanoviÄ, Jelena; Filipovitch-Robinson, Lilien; MarjanoviÄ, Igor (eds.).
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TodiÄ, Katarina (2014). "In the Name of Father and Son: Remembering the First World War in Serbia". In BĆ¼rgschwenter, Joachim; Egger, Matthias; Barth-Scalmani, Gunda (eds.).
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was thus intended to challenge the historical and political narratives being forwarded by the Croatian and Hungarian painters whose works were also going to be displayed.
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In the early 1890s, Hungarian officials announced plans for a Budapest Millennium Exhibition to be held in 1896; it was intended to mark the 1,000th anniversary of the
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130:. JovanoviÄ went on to complete a total of four versions of the painting, three of which survive. The first version is on display at the patriarchate building of the
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Albert, Samuel D. (2015). "The Nation For Itself: The 1896 Hungarian Millennium and the 1906 Bucharest National General Exhibition". In PetrovĆ”, Marta (ed.).
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Millennium Exhibition. In the view of the Serbian clergy, it would serve to legitimize Serb claims to religious autonomy and partial self-administration in
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measures 380 by 580 centimetres (150 by 230 in). It depicts Arsenije leading tens of thousands of Serbs into exile, riding a horse and flanked by a
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Browne, Dennis (2013). "Emir Kusturica: "Underground" and "Life is a Miracle"". In Kazecki, Jakub; Ritzenhoff, Karen A.; Miller, Cynthia J. (eds.).
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The painting was well received in Serbia and abroad; it has since attained iconic status in Serbian popular culture. An allusion to it is made in
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306:. Several pavilions displaying the cultural and industrial achievements of non-Hungarians living in the Hungarian-administered territories of
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506:. It was ultimately put on display at the patriarchate building in Belgrade, where it remains. It began undergoing restoration in 2004.
498:, where it remained until the end of the war. After the war, the painting was returned to Serbia, briefly put on display at Belgrade's
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decried the Serbs as "uninvited guests" who only acquired Leopold's pledge of autonomy after they had migrated to the Habsburg lands.
1826:
1209:
2019:
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143:
1951:
288:. Exhibits were to be divided into twelve distinct areas, one of which was visual art. The showpiece of the art exhibit was
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holds iconic status in Serbian popular culture, and several authors repute it to be one of JovanoviÄ's finest achievements.
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in 1945, and took it with them to New York. This version was returned to Belgrade in 2009, and is currently on display at
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to consult JovanoviÄ on the historical details of the migration and accompany him on a visit to the monasteries of
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Lilien Filipovitch-Robinson notes that JovanoviÄ incorporated modern techniques into the work and emulated the
332:, intending for it to be displayed as part of the Serb pavilion. Georgije had originally approached the artist
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was unveiled at the Archbishop's palace in Sremski Karlovci in 1896. It was kept there until 1941, when
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On the Very Edge: Modernism and Modernity in the Arts and Architecture of Interwar Serbia (1918ā1941)
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River, and settled there. The migrants would come to call the regions they had formerly inhabited
1655:(1999). "The Serbs: The Sweet and Rotten Smell of History". In Graubard, Stephen Richards (ed.).
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evidence and consulted historians. Notably, the Church asked the historian and Orthodox priest
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Measuring 380 by 580 centimetres (150 by 230 in), the first painting was completed in
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JovanoviÄ modeled the warrior after his acquaintance Nikola IgiÄ, a judge from Vojvodina.
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1210:"Restoration of Paja JovanoviÄ's Famous Masterpiece "The Migration of the Serbs" Begins"
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Filipovitch-Robinson ranks the painting among JovanoviÄ's three best works, alongside
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1965:
Myth, Identity and Conflict: A Comparative Analysis of Romanian and Serbian Textbooks
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66:
1528:"Inspiration and Affirmation of Revolution in Nineteenth-Century Serbian Painting"
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1963:
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Cultures of International Exhibitions 1840ā1940: Great Exhibitions in the Margins
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681:) is how the painting is most commonly referred to in Serbian. The full title is
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Between Nation and State: Serbian Politics in Croatia Before the First World War
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fascists looted the palace and stole it, cut it out of its frame and took it to
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by upholding the contention that Serbs left their homeland at the behest of the
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pieces as opposed to ones that depicted specific moments from Serbian history.
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1986:
Other Fronts, Other Wars? First World War Studies on the Eve of the Centennial
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1947:
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211:. On 2 January 1690, the Habsburgs and Serbs were defeated in battle at the
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Tradition and Avant-Garde: Literature and Art in Serbian Culture, 1900ā1918
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JovanoviÄ modeled the figure of Arsenije after Patriarch Georgije himself.
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50:, oil on canvas, 126 by 190 centimetres (50 by 75 in), PanÄevo Museum
135:
104:
420:. In direct reference to the Bible, the image is reminiscent to that of
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208:
219:. Between 30,000 and 40,000 Serb refugees streamed into Habsburg-held
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685:(Migration of the Serbs under the Patriarch Arsenije III CrnojeviÄ).
1929:"Internationalism and Ethnicity: A Case Study of Serbian Painting"
1661:. Piscataway, New Jersey: Transaction Publishers. pp. 23ā47.
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1332:
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421:
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2004:
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became the Patriarchate for Serbs living in the Habsburg Empire.
1563:"Exploring Modernity in the Art of KrstiÄ, JovanoviÄ and PrediÄ"
321:, the Congress Board of Sremski Karlovci commissioned the young
2008:
1844:. Vol. 1. Boulder, Colorado: Eastern European Monographs.
1682:(2nd ed.). New Haven, Connecticut: Yale University Press.
1637:. Leuven, Belgium: Leuven University Press. pp. 31ā63.
1679:
The Serbs: History, Myth and the Destruction of Yugoslavia
1936:
Journal of the North American Society for Serbian Studies
1912:] (in Serbian). Belgrade: National Museum of Serbia.
1726:] (in Serbian). Belgrade: National Museum of Serbia.
1605:
Journal of the North American Society for Serbian Studies
1570:
Journal of the North American Society for Serbian Studies
1535:
Journal of the North American Society for Serbian Studies
1449:. Farnham, England: Ashgate Publishing. pp. 113ā37.
1319:
1317:
1237:(in Serbian). Politika. 15 September 2014. Archived from
1212:. Serbian Orthodox Church. 18 August 2004. Archived from
878:
876:
555:. It measures 100 by 150 centimetres (39 by 59 in).
1796:
Serbian Painters, 18thā20th century: Portraits and Works
1942:(1). Bloomington, Indiana: Slavica Publishers: 160ā85.
1750:(2nd ed.). Cambridge: Cambridge University Press.
1576:(1). Bloomington, Indiana: Slavica Publishers: 115ā35.
1541:(2). Bloomington, Indiana: Slavica Publishers: 317ā28.
1611:(1). Bloomington, Indiana: Slavica Publishers: 35ā53.
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characterizes the painting as "a Balkan equivalent to
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The amount Smodlaka paid for this version is unknown.
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The first version of the painting, composed in 1896
342:, which was commissioned by the VrŔac city council.
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1910:
Paja JovanoviÄ: A Systematic Catalogue of His Works
1598:"Paja JovanoviÄ and the Imagining of War and Peace"
721:The latter is sometimes erroneously referred to as
683:
Seoba Srba pod patriarhom Arsenijom III CrnojeviÄem
231:, and dubbed their adopted homeland "new Serbia".
1837:
1814:
95:of 1690ā91. The first was commissioned in 1895 by
1703:. New Haven, Connecticut: Yale University Press.
1338:
1180:
1116:
1001:
1747:Yugoslavia as History: Twice There Was a Country
1989:. Leiden, Netherlands: BRILL. pp. 437ā63.
1821:. Pittsburgh: University of Pittsburgh Press.
1487:. Lanham, Maryland: Rowman & Littlefield.
1468:. Belgrade, Yugoslavia: Belgrade City Museum.
310:were also built, including one for the Serbs.
2020:
1484:Border Visions: Identity and Diaspora in Film
8:
632:and similar paintings stimulated a "revived
484:was displayed at the Millennium Exhibition.
313:In the spring of 1895, on the orders of the
1792:Srpski slikari XVIIIāXX veka: Likovi i dela
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1227:
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1223:
466:, and the fourth version, composed in 1945
2027:
2013:
2005:
816:
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282:Hungarian conquest of the Carpathian Basin
246:, whereby the Habsburgs granted the Serbs
103:, to be displayed at the following year's
1508:An Introduction to Nineteenth-Century Art
1168:
1041:
1005:
1906:ŠŠ°ŃŠ° ŠŠ¾Š²Š°Š½Š¾Š²ŠøŃ: Š”ŠøŃŃŠµŠ¼Š°ŃŃŠŗŠø ŠŗŠ°ŃŠ°Š»Š¾Š³ Š“ŠµŠ»Š°
1798:] (in Serbian). Belgrade: Prosveta.
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27:
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1889:. New York: New York University Press.
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23:Set of four paintings by Paja JovanoviÄ
1390:
1366:
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1276:
946:
894:
867:
828:
2206:Cultural depictions of Serbian people
2099:The Proclamation of DuŔan's Law Codex
1968:. Lanham, Maryland: Lexington Books.
1596:Filipovitch-Robinson, Lilien (2008).
1561:Filipovitch-Robinson, Lilien (2007).
1526:Filipovitch-Robinson, Lilien (2005).
1426:
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840:
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652:The Proclamation of DuŔan's Law Codex
234:In 1691, Arsenije struck a deal with
7:
291:The Conquest of the Carpathian Basin
1962:Segesten, Anamaria Dutceac (2011).
1865:. Oxford: Oxford University Press.
294:, a painting by Hungary's foremost
1836:MilojkoviÄ-DjuriÄ, Jelena (1988).
1511:. New York: Taylor & Francis.
14:
2133:
2121:
1288:"Through the Serbian Mind's Eye"
625:Washington Crossing the Delaware
574:Washington Crossing the Delaware
452:
443:
1235:"Äetiri originala "Seobe Srba""
1886:Serbia: The History of an Idea
678:
159:Great Serb Migration (1690ā91)
1:
2181:Serbs from the Ottoman Empire
607:to the Adriatic coast during
502:, and then given back to the
304:Hungarian Parliament Building
271:
44:
1862:Belgrade: A Cultural History
1813:Miller, Nicholas J. (1997).
723:The Coronation of Tsar DuŔan
553:Princess Ljubica's Residence
144:Princess Ljubica's Residence
622:as a "Balkan equivalent to
345:In the eyes of the clergy,
65:) is a set of four similar
2222:
1927:Popovich, Ljubica (1999).
302:, that was located in the
142:Museum, and the fourth at
15:
1859:Norris, David A. (2008).
1772:. London: Pan Macmillan.
1658:A New Europe for the Old?
1415:Filipovitch-Robinson 2014
1309:Filipovitch-Robinson 2005
1256:Filipovitch-Robinson 2014
1252:Filipovitch-Robinson 2008
1197:Filipovitch-Robinson 2014
1185:Filipovitch-Robinson 2008
1157:Filipovitch-Robinson 2014
1153:Filipovitch-Robinson 2008
1100:Filipovitch-Robinson 2008
1085:Filipovitch-Robinson 2008
990:Filipovitch-Robinson 2008
978:Filipovitch-Robinson 2014
959:Filipovitch-Robinson 2007
923:Filipovitch-Robinson 2014
919:Filipovitch-Robinson 2008
856:Filipovitch-Robinson 2008
1904:PetroviÄ, Petar (2012).
1718:Kusovac, Nikola (2009).
636:" among the new Serbian
2059:Decorating of the Bride
2051:The Wounded Montenegrin
1770:Kosovo: A Short History
1700:Kosovo: War and Revenge
1464:AntiÄ, Radmila (1970).
504:Serbian Orthodox Church
175:into the Habsburg lands
132:Serbian Orthodox Church
2091:Migration of the Serbs
2067:A Resting Bashi-Bazouk
1339:MilojkoviÄ-DjuriÄ 1988
1181:MilojkoviÄ-DjuriÄ 1988
1117:MilojkoviÄ-DjuriÄ 1988
1002:MilojkoviÄ-DjuriÄ 1988
630:Migration of the Serbs
620:Migration of the Serbs
581:
528:Exposition Universelle
488:Migration of the Serbs
369:Migration of the Serbs
356:Migration of the Serbs
347:Migration of the Serbs
330:Migration of the Serbs
277:
199:to revolt against the
176:
148:Migration of the Serbs
62:Migration of the Serbs
51:
37:Migration of the Serbs
18:Migration of the Serbs
1881:Pavlowitch, Stevan K.
566:
352:Croatian nationalists
315:Patriarch of Karlovci
266:
248:ecclesiastic autonomy
166:
101:Patriarch of Karlovci
31:
1676:Judah, Tim (2000) .
1060:, pp. 170ā171;
559:Reception and legacy
217:Great Serb Migration
138:, the second at the
93:Great Serb Migration
16:For other uses, see
2186:Paintings in Serbia
2075:The Takovo Uprising
1697:Judah, Tim (2002).
1626:on 8 December 2015.
1357:, pp. 104ā105.
1064:, pp. 104ā105.
870:, pp. 116ā117.
746:, pp. 169ā171.
646:The Takovo Uprising
207:incursion into the
167:An illustration of
1292:The New York Times
1183:, pp. 17ā18;
1004:, pp. 17ā18;
601:Royal Serbian Army
582:
545:communist takeover
433:Jovan Monasterlija
278:
240:Holy Roman Emperor
177:
113:Holy Roman Emperor
97:Georgije BrankoviÄ
52:
2176:History paintings
2166:Serbian paintings
2109:
2108:
1996:978-90-04-27951-3
1975:978-0-7391-4867-9
1919:978-86-7269-130-6
1896:978-0-8147-6708-5
1872:978-0-19-970452-1
1851:978-0-88033-131-9
1805:978-86-07-00757-8
1779:978-0-333-66613-5
1757:978-0-521-77401-7
1733:978-86-80619-55-2
1710:978-0-300-09725-2
1689:978-0-300-08507-5
1668:978-1-4128-1617-5
1644:978-90-5867-993-2
1518:978-1-136-84071-5
1494:978-0-8108-9051-0
1456:978-1-4724-3281-0
1286:(10 April 1994).
1241:on 25 March 2016.
1199:, p. 61, note 68.
1187:, p. 43, note 22.
1159:, p. 60, note 60.
1119:, pp. 17ā18.
992:, p. 43, note 25.
843:, pp. 14ā15.
659:Explanatory notes
634:collective memory
185:Archbishop of PeÄ
117:Habsburg monarchy
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2138:
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2126:
2125:
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2029:
2022:
2015:
2006:
2000:
1979:
1958:
1957:on 8 April 2016.
1956:
1950:. Archived from
1933:
1923:
1900:
1876:
1855:
1843:
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1820:
1809:
1788:MedakoviÄ, Dejan
1783:
1761:
1737:
1714:
1693:
1672:
1648:
1627:
1625:
1619:. Archived from
1602:
1592:
1591:on 4 March 2016.
1590:
1584:. Archived from
1567:
1557:
1556:on 9 April 2016.
1555:
1549:. Archived from
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1522:
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1300:
1299:
1298:on 8 March 2016.
1294:. Archived from
1280:
1271:
1265:
1259:
1249:
1243:
1242:
1231:
1218:
1217:
1216:on 4 March 2016.
1206:
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1160:
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832:
826:
820:
814:
808:
798:
792:
786:
780:
779:, pp. 9ā10.
774:
768:
762:
747:
741:
726:
719:
713:
710:
704:
701:
695:
692:
686:
680:
675:Serbian Cyrillic
668:
456:
447:
276:
273:
253:Sremski Karlovci
128:Sremski Karlovci
49:
46:
2221:
2220:
2216:
2215:
2214:
2212:
2211:
2210:
2161:1900s paintings
2146:
2145:
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2122:
2120:
2112:
2110:
2105:
2038:
2033:
2003:
1997:
1982:
1976:
1961:
1954:
1931:
1926:
1920:
1903:
1897:
1879:
1873:
1858:
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1503:Facos, Michelle
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1421:
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1044:, p. 254;
1040:
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817:Pavlowitch 2002
815:
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801:Pavlowitch 2002
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614:The journalist
567:The journalist
561:
512:
500:National Museum
473:
472:
471:
470:
459:
458:
457:
449:
448:
410:
405:
377:Ilarion Ruvarac
364:
308:Austria-Hungary
300:MihƔly MunkƔcsy
296:history painter
274:
261:
244:King of Hungary
223:, north of the
161:
156:
146:, in Belgrade.
115:to protect the
109:Austria-Hungary
47:
24:
21:
12:
11:
5:
2219:
2217:
2209:
2208:
2203:
2198:
2193:
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2178:
2173:
2171:Paja JovanoviÄ
2168:
2163:
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2156:1896 paintings
2148:
2147:
2143:
2142:
2130:
2107:
2106:
2104:
2103:
2095:
2087:
2083:VrŔac triptych
2079:
2071:
2063:
2055:
2046:
2044:
2040:
2039:
2036:Paja JovanoviÄ
2034:
2032:
2031:
2024:
2017:
2009:
2002:
2001:
1995:
1980:
1974:
1959:
1924:
1918:
1901:
1895:
1877:
1871:
1856:
1850:
1833:
1827:
1810:
1804:
1784:
1778:
1762:
1756:
1742:Lampe, John R.
1738:
1732:
1724:Paja JovanoviÄ
1720:ŠŠ°ŃŠ° ŠŠ¾Š²Š°Š½Š¾Š²ŠøŃ
1715:
1709:
1694:
1688:
1673:
1667:
1649:
1643:
1628:
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1523:
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1499:
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1478:
1466:Paja JovanoviÄ
1461:
1455:
1439:
1437:
1434:
1432:
1431:
1419:
1407:
1405:, p. 393.
1395:
1383:
1381:, p. 446.
1371:
1359:
1343:
1328:
1313:
1311:, p. 324.
1301:
1272:
1270:, p. 138.
1260:
1254:, p. 43;
1244:
1219:
1201:
1189:
1173:
1171:, p. 254.
1169:MedakoviÄ 1994
1161:
1155:, p. 43;
1145:
1133:
1131:, p. 136.
1121:
1104:
1089:
1066:
1050:
1048:, p. 136.
1042:MedakoviÄ 1994
1034:
1022:
1010:
1008:, p. 254.
1006:MedakoviÄ 1994
994:
982:
963:
961:, p. 125.
951:
939:
937:, p. 170.
927:
921:, p. 42;
911:
899:
897:, p. 119.
887:
885:, p. 133.
872:
860:
845:
833:
821:
809:
803:, p. 20;
793:
791:, p. 139.
781:
769:
748:
735:
733:
730:
728:
727:
714:
705:
696:
687:
662:
660:
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586:Emir Kusturica
560:
557:
511:
510:Other versions
508:
482:VrŔac triptych
478:Isaije ÄakoviÄ
461:
460:
451:
450:
442:
441:
440:
439:
438:
409:
406:
404:
401:
373:ethnographical
363:
360:
339:VrŔac triptych
326:Paja JovanoviÄ
268:Paja JovanoviÄ
260:
257:
203:and support a
201:Ottoman Empire
160:
157:
155:
152:
74:Paja JovanoviÄ
71:Serbian artist
33:Paja JovanoviÄ
22:
13:
10:
9:
6:
4:
3:
2:
2218:
2207:
2204:
2202:
2199:
2197:
2196:Horses in art
2194:
2192:
2191:Cattle in art
2189:
2187:
2184:
2182:
2179:
2177:
2174:
2172:
2169:
2167:
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2141:
2136:
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2053:
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2048:
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2037:
2030:
2025:
2023:
2018:
2016:
2011:
2010:
2007:
1998:
1992:
1988:
1987:
1981:
1977:
1971:
1967:
1966:
1960:
1953:
1949:
1945:
1941:
1937:
1930:
1925:
1921:
1915:
1911:
1907:
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1828:9780822939894
1824:
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1811:
1807:
1801:
1797:
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1766:Malcolm, Noel
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1452:
1448:
1447:
1441:
1440:
1435:
1429:, p. 18.
1428:
1423:
1420:
1417:, p. 50.
1416:
1411:
1408:
1404:
1399:
1396:
1393:, p. 79.
1392:
1387:
1384:
1380:
1375:
1372:
1369:, p. 31.
1368:
1363:
1360:
1356:
1355:Segesten 2011
1352:
1347:
1344:
1341:, p. 19.
1340:
1335:
1333:
1329:
1326:, p. 69.
1325:
1324:PetroviÄ 2012
1320:
1318:
1314:
1310:
1305:
1302:
1297:
1293:
1289:
1285:
1279:
1277:
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1269:
1264:
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1258:, p. 53.
1257:
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1125:
1122:
1118:
1113:
1111:
1109:
1105:
1102:, p. 44.
1101:
1096:
1094:
1090:
1087:, p. 43.
1086:
1081:
1079:
1077:
1075:
1073:
1071:
1067:
1063:
1062:Segesten 2011
1059:
1058:Popovich 1999
1054:
1051:
1047:
1043:
1038:
1035:
1032:, p. 66.
1031:
1030:PetroviÄ 2012
1026:
1023:
1020:, p. 31.
1019:
1014:
1011:
1007:
1003:
998:
995:
991:
986:
983:
980:, p. 52.
979:
974:
972:
970:
968:
964:
960:
955:
952:
949:, p. 40.
948:
943:
940:
936:
935:Popovich 1999
931:
928:
925:, p. 51.
924:
920:
915:
912:
909:, p. 60.
908:
903:
900:
896:
891:
888:
884:
879:
877:
873:
869:
864:
861:
858:, p. 42.
857:
852:
850:
846:
842:
837:
834:
830:
825:
822:
819:, p. 23.
818:
813:
810:
807:, p. 26.
806:
802:
797:
794:
790:
785:
782:
778:
773:
770:
766:
761:
759:
757:
755:
753:
749:
745:
744:Popovich 1999
740:
737:
731:
724:
718:
715:
709:
706:
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697:
691:
688:
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676:
672:
667:
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641:
639:
635:
631:
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621:
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612:
610:
606:
602:
597:
593:
592:
588:'s 1995 film
587:
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576:
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558:
556:
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546:
540:
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534:
530:
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497:
493:
489:
485:
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479:
469:
465:
455:
446:
437:
434:
430:
427:
426:chosen people
423:
419:
415:
412:The original
407:
402:
400:
398:
393:
389:
388:art historian
384:
382:
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327:
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297:
293:
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287:
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269:
265:
259:Commissioning
258:
256:
254:
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245:
241:
237:
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230:
226:
222:
218:
214:
213:KaÄanik Gorge
210:
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202:
198:
194:
190:
186:
182:
174:
171:crossing the
170:
165:
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137:
133:
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120:
118:
114:
110:
106:
102:
98:
94:
90:
86:
83:
79:
75:
72:
68:
67:oil paintings
64:
63:
58:
57:
42:
38:
34:
30:
26:
19:
2201:Sheep in art
2097:
2090:
2089:
2081:
2073:
2065:
2057:
2049:
1985:
1964:
1952:the original
1939:
1935:
1909:
1905:
1885:
1861:
1839:
1816:
1795:
1791:
1769:
1746:
1723:
1719:
1699:
1678:
1657:
1633:
1621:the original
1608:
1604:
1586:the original
1573:
1569:
1551:the original
1538:
1534:
1507:
1483:
1465:
1445:
1436:Bibliography
1422:
1410:
1398:
1386:
1374:
1362:
1351:Kusovac 2009
1346:
1304:
1296:the original
1291:
1284:Kifner, John
1268:Kusovac 2009
1263:
1247:
1239:the original
1214:the original
1204:
1192:
1176:
1164:
1148:
1143:, p. 2.
1136:
1129:Kusovac 2009
1124:
1053:
1046:Kusovac 2009
1037:
1025:
1013:
997:
985:
954:
942:
930:
914:
907:Kusovac 2009
902:
890:
883:Kusovac 2009
863:
836:
831:, p. 8.
824:
812:
796:
789:Malcolm 1998
784:
772:
767:, p. 1.
739:
722:
717:
708:
699:
690:
682:
670:
666:
650:
644:
642:
638:middle class
629:
623:
619:
613:
589:
583:
578:
572:
541:
533:world's fair
526:
522:lithographic
513:
487:
486:
481:
474:
467:
463:
429:out of Egypt
424:leading the
414:oil painting
411:
392:naturalistic
385:
368:
365:
355:
346:
344:
337:
329:
312:
289:
279:
233:
181:Arsenije III
178:
147:
121:
119:'s borders.
85:Arsenije III
76:that depict
61:
60:
55:
54:
53:
40:
36:
25:
2070:(1887ā1888)
2062:(1885ā1888)
1391:Norris 2008
1367:Browne 2013
947:Miller 1997
895:Albert 2015
868:Albert 2015
829:Miller 1997
649:(1894) and
616:John Kifner
609:World War I
591:Underground
569:John Kifner
397:Orientalist
381:FruŔka Gora
362:Preparation
334:UroÅ” PrediÄ
275: 1899
191:in Kosovo,
91:during the
48: 1896
2150:Categories
1653:Judah, Tim
1427:AntiÄ 1970
1403:Facos 2011
1379:TodiÄ 2014
1141:Judah 2000
1018:AntiÄ 1970
841:Judah 2000
805:Lampe 2000
777:Judah 2002
765:Judah 2000
732:References
679:Š”ŠµŠ¾Š±Š° Š”ŃŠ±Š°
671:Seoba Srba
618:describes
579:(pictured)
549:Yugoslavia
319:Georgije I
238:, who was
229:Old Serbia
187:, incited
154:Background
89:Old Serbia
87:, fleeing
82:Archbishop
59:(English:
56:Seoba Srba
41:Seoba Srba
2094:(c. 1896)
2086:(c. 1895)
2078:(c.ā1894)
2054:(c. 1882)
2043:Paintings
1948:0742-3330
1744:(2000) .
1617:0742-3330
1582:0742-3330
1547:0742-3330
418:Serb flag
328:to paint
286:City Park
236:Leopold I
221:Vojvodina
193:Macedonia
179:In 1689,
80:, led by
1883:(2002).
1790:(1994).
1768:(1998).
1505:(2011).
1474:18028481
408:Original
205:Habsburg
195:and the
136:Belgrade
105:Budapest
2114:Portals
605:retreat
596:bombing
517:PanÄevo
468:(right)
403:History
323:realist
209:Balkans
197:Sandžak
140:PanÄevo
69:by the
2128:Serbia
2102:(1900)
1993:
1972:
1946:
1916:
1893:
1869:
1848:
1825:
1802:
1776:
1754:
1730:
1707:
1686:
1665:
1641:
1615:
1580:
1545:
1515:
1491:
1472:
1453:
496:Zagreb
492:UstaŔe
464:(left)
225:Danube
183:, the
173:Danube
99:, the
1955:(PDF)
1932:(PDF)
1908:[
1794:[
1722:[
1624:(PDF)
1601:(PDF)
1589:(PDF)
1566:(PDF)
1554:(PDF)
1531:(PDF)
537:Paris
535:) in
422:Moses
189:Serbs
169:Serbs
78:Serbs
1991:ISBN
1970:ISBN
1944:ISSN
1914:ISBN
1891:ISBN
1867:ISBN
1846:ISBN
1823:ISBN
1800:ISBN
1774:ISBN
1752:ISBN
1728:ISBN
1705:ISBN
1684:ISBN
1663:ISBN
1639:ISBN
1613:ISSN
1578:ISSN
1543:ISSN
1513:ISBN
1489:ISBN
1470:OCLC
1451:ISBN
386:The
242:and
124:1896
2140:Art
611:.
603:'s
547:of
134:in
43:),
2152::
1940:13
1938:.
1934:.
1609:22
1607:.
1603:.
1574:21
1572:.
1568:.
1539:19
1537:.
1533:.
1331:^
1316:^
1290:.
1275:^
1222:^
1107:^
1092:^
1069:^
966:^
875:^
848:^
751:^
677::
577:"
539:.
317:,
298:,
272:c.
270:,
45:c.
35:,
2116::
2028:e
2021:t
2014:v
1999:.
1978:.
1922:.
1899:.
1875:.
1854:.
1831:.
1808:.
1782:.
1760:.
1736:.
1713:.
1692:.
1671:.
1647:.
1521:.
1497:.
1476:.
1459:.
725:.
673:(
531:(
39:(
20:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
