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where he continued to do what he preferred the most and that was painting portraits. There he also collaborated with like-minded painters who identified themselves with the same group of academically-trained, artists from the region.
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Painting by
Anastas Bocarić is really just a vestibule of Serbian modern art. Its true beginning can be accurately determined by the fact that zoographic painting pressed these spaces until the end of the nineteenth century.
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At its core, Bocarić was a romantic, he found reality in the nature of the story, but in his paintings, he could find a foothold in contemporary solutions as well as in his Woman in White. Painting a slender figure in a
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and worked as a professor at the Women's School. Bocarić intensified his work on religious compositions and painted portraits of distinguished personalities living then in
119:, his father was Evangel Bocarić and mother Anđelka Raičević. At the age of fourteen, he left his parents' home and went to study painting at the Academy of Fine Arts in
229:, a master of decorative style. Many of the portraits that Bocarić did in Mostar and in Sarajevo are a series of parade creations, often made from photographs.
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the following year. In addition to working on portraits, he also made religious compositions for
Serbian Orthodox churches there. In 1896 he was already in
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Mostar, Sarajevo (Bosnia and
Hercegovina) Umjetnic̆ka galerija Ekspozitura; Mostar, Umjetnička galerija Bosne i Hercegovine Ekspozitura (1969).
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Great People's
Assembly of Serbs, Bunjevci and other Slavs in Banat, Bačka and Baranja, held in Novi Sad on November 25, 1918
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with his family. The image of "Guslar in the choir" was a reason because of which he had to flee to
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to teach for the next five or six years. During this period, he designed the emblem of
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Tradition and Avant-Garde: Literature and Art in
Serbian Culture, 1900–1918
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authorities. In the latter year of the 19th century, a plaster bust of
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where he continued to teach. In 1909 he ran the Balkan Art School in
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was made, so it is assumed that he resided in
Montenegro that year.
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443:(in French). Umjetnička galerija Socijalistička Republike Crne Gore.
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or better known as the World
Exhibition in Paris, representing the
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103:(1 January 1864 – 17 April 1944) was a Serbian painter.
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186:. From 1906 to 1908, he moved from Constantinople to
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380:Umjetnička galerija Sarajevo Ekspoaitura Mostar
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310:The Art treasures of Bosnia and Herzegovina
63:Learn how and when to remove this message
394:Milojković-Djurić, Jelena (1988-01-01).
330:. Oxford University Press. p. 106.
39:Relevant discussion may be found on the
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400:. East European Monographs, Boulder.
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383:(in Croatian). Umjetnička galerija.
93:Anastas Bocarić on a 2014 stamp of
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491:20th-century Serbian male artists
481:19th-century Serbian male artists
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324:Turner, Jane (February 2003).
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486:20th-century Serbian painters
471:19th-century Serbian painters
501:Artists from Austria-Hungary
82:Anastas Bocarić, a photo by
210:He died in Perast in 1944.
161:Prince Nikola of Montenegro
43:. Please help Knowledge by
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440:Art moderne du Monténégro
423:Review: Yugoslav Magazine
288:List of Serbian painters
202:. In 1932 he settled in
437:Perović, Olga (1970).
168:Exposition Universelle
147:. In 1897 he moved to
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45:rewriting this article
476:Serbian male painters
356:. BritishDotCom ltd.
327:The Dictionary of Art
307:Basler, Đuro (1987).
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496:Serbs of Montenegro
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155:before the
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455:Categories
294:References
184:Menelik II
117:Montenegro
95:Montenegro
200:Vojvodina
107:Biography
41:talk page
31:contains
282:See also
214:Painting
196:Novi Sad
180:Ethiopia
176:Istanbul
153:Belgrade
149:Sarajevo
426:. 1972.
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222:peplos
204:Perast
188:Skopje
141:Mostar
137:Zagreb
121:Athens
133:Zadar
129:Kotor
125:Budva
113:Budva
402:ISBN
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