112:'s Academy of Applied Arts (in 1948), he continued his work at the Ceramics Department. This resulted with politically motivated passionate criticism of his art after World War II. A true turning point in Tabaković's opus came with the entities of "The origin and forms of visual expression" and "Sources of visual research – Analysis and photographic records," with theses that had the character of manifestos (1955). 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. His other research was aimed at the object, sculpture, collage and trick photography with the application of the visual logic of the early post-modern, aimed at the creation of super oeuvre created by the proliferation of landscapes, fragments, paintings, clippings, signs, emblems and symbols. 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.
22:
103:
in
Belgrade. 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
94:
and founded the Zagreb group "Zemlja" (1929). Zemlja paintings functioned as a critique of society, depicting rural life in
Yugoslavia through local roots. This period culminated in the painting Genius (1929), the zenith of his Zagreb period (1925–1930). He moved to
107:
His
Belgrade period (1938–1977) encompassed several experimental-creative phases. The first one (1938–1955) continued an already established melancholic-poetic procedure often permeated by elements of grotesque, irony and sarcasm. After the foundation of
123:
83:. Tabaković's education under the mentorship of Ljubo Babić in Zagreb and with Hans Hofmann in Munich, guided his painting towards the foundations of modernist painting.
403:
305:
398:
383:
109:
408:
242:
271:
116:
368:
339:
100:
90:, he was engaged as a part-time draftsman at the Institute of Anatomy in Zagreb. There, he spent time with Croatian artist
64:
76:
378:
388:
373:
21:
393:
306:"The Revival of Beauty: The Restoration of Monumental Ceramic Panels designed by Ivan Tabaković in 1937"
87:
287:
363:
358:
331:
104:
brilliant drawings, with elements of melancholy and sophisticated use of color, richly nuanced."
91:
60:
267:
261:
193:
343:
326:
56:
36:
175:
224:
352:
52:
32:
336:
96:
68:
80:
72:
40:
243:"Art and Life Are One: the "Earth" Association of Artists 1929-1935"
124:
127:
20:
263:
Central and
Eastern European Art Since 1950 (World of Art)
71:, and afterwards, at the Royal Academy of Applied Arts in
122:Tabaković won a Grand Prix for ceramics at the
219:
217:
215:
213:
211:
209:
207:
99:in 1930, and later became a professor at the
8:
133:Tabaković died at Belgrade on 27 June 1977.
59:, in 1898, a son of noted Serbian architect
404:Hungarian University of Fine Arts alumni
130:(1937), where he exhibited four panels.
110:Socialist Federal Republic of Yugoslavia
167:
86:In 1926, after the proclamation of the
35:– 27 June 1977, Belgrade) was an
260:Fowkes, Maja; Fowkes, Reuben (2020).
7:
117:Serbian Academy of Sciences and Arts
399:Academy of Fine Arts, Munich alumni
266:. Thames & Hudson. p. 28.
384:Romanian people of Serbian descent
182:. Smithsonian American Art Museum.
14:
312:. Museum of Applied Art Belgrade.
409:20th-century Romanian painters
327:Webpage with Tabaković's works
194:"Ivan Tabaković (1898 - 1977)"
1:
65:Budapest Academy of Fine Arts
425:
115:He became a member of the
369:People from Arad, Romania
16:Serbian painter, sculptor
342:4 February 2012 at the
51:Tabaković was born in
25:
88:Kingdom of Yugoslavia
24:
101:Academy of Fine Arts
77:Academy of Fine Arts
63:. He studied at the
55:, then part of the
31:(10 December 1898,
379:Serbs of Vojvodina
180:americanart.si.edu
26:
337:Serbian Sculpture
273:978-0-50077-535-6
416:
389:Serbian painters
374:Serbs of Romania
314:
313:
302:
296:
295:
288:"Tabaković Ivan"
284:
278:
277:
257:
251:
250:
239:
233:
232:
225:"Ivan Tabaković"
221:
202:
201:
190:
184:
183:
176:"Ivan Tabakovic"
172:
37:Austro-Hungarian
424:
423:
419:
418:
417:
415:
414:
413:
394:Collage artists
349:
348:
344:Wayback Machine
323:
318:
317:
304:
303:
299:
286:
285:
281:
274:
259:
258:
254:
241:
240:
236:
229:artegalerija.rs
223:
222:
205:
192:
191:
187:
174:
173:
169:
164:
139:
92:Oton Postružnik
61:Milan Tabaković
57:Habsburg Empire
49:
17:
12:
11:
5:
422:
420:
412:
411:
406:
401:
396:
391:
386:
381:
376:
371:
366:
361:
351:
350:
347:
346:
334:
332:ArtFacts Entry
329:
322:
321:External links
319:
316:
315:
297:
279:
272:
252:
234:
203:
185:
166:
165:
163:
160:
159:
158:
152:
146:
138:
135:
48:
45:
29:Ivan Tabaković
15:
13:
10:
9:
6:
4:
3:
2:
421:
410:
407:
405:
402:
400:
397:
395:
392:
390:
387:
385:
382:
380:
377:
375:
372:
370:
367:
365:
362:
360:
357:
356:
354:
345:
341:
338:
335:
333:
330:
328:
325:
324:
320:
311:
307:
301:
298:
293:
289:
283:
280:
275:
269:
265:
264:
256:
253:
248:
244:
238:
235:
230:
226:
220:
218:
216:
214:
212:
210:
208:
204:
199:
195:
189:
186:
181:
177:
171:
168:
161:
156:
153:
150:
147:
144:
141:
140:
136:
134:
131:
129:
125:
120:
118:
113:
111:
105:
102:
98:
93:
89:
84:
82:
78:
74:
70:
66:
62:
58:
54:
46:
44:
42:
38:
34:
30:
23:
19:
309:
300:
291:
282:
262:
255:
246:
237:
228:
197:
188:
179:
170:
154:
148:
142:
132:
121:
114:
106:
85:
50:
28:
27:
18:
364:1977 deaths
359:1898 births
247:timeout.com
353:Categories
292:arthaus.rs
162:References
119:in 1965.
47:Biography
43:painter.
340:Archived
97:Novi Sad
69:Budapest
198:arte.rs
155:Message
149:Shadows
41:Serbian
310:mpu.rs
270:
157:(1968)
151:(1954)
145:(1924)
143:Genius
81:Munich
73:Zagreb
39:-born
137:Works
128:Paris
268:ISBN
75:and
53:Arad
33:Arad
126:in
79:in
67:in
355::
308:.
290:.
245:.
227:.
206:^
196:.
178:.
294:.
276:.
249:.
231:.
200:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
