ARTOGRAPH EXHIBITIONS

Sarkis Diranian Born 1854 Constantinople (now Istanbul), Ottoman Empire. Died 1938 (aged 83–84) Paris, France. Painter Sarkis Diranian (Armenian: 1854 - 1938) was an Armenian orientalist painter. Originally from the Ottoman Empire, he was established for many years in Paris. Diranian was born in 1854 in Constantinople and studied art at the school of drawing and painting opened on Hamalbaşi Street in Beyoğlu by the French artist Pierre Desire Guillemet in 1875. His painting The Enchantress was exhibited in the photography studio of the Abdullah Freres in Beyoğlu in 1883, and on the proceeds from its sale he went to Paris and worked in the studio of Jean-Léon Gérôme. In the year 1883 or 1884, while still in Paris, he was awarded the Mecidiye order by the Ottoman government, and in 1887 the Ottoman Ministry of Education began to pay him a monthly allowance. In 1889 he graduated from the Academy of Fine Arts in Paris, and until 1910 he participated in the exhibitions of the Societe des Artistes Francais in Paris. In 1892 and 1900 he won the prize of honor at the international Paris exhibitions. In 1908 he held a one-person exhibition in Paris and in 1909 participated in a mixed exhibition in Munich. He died in Paris in 1938.His major works include Woman Tying a Rose (1897), The Dancer and Five O'Clock exhibited in Paris in 1910, Naked Woman in the collection at the Dolmabahçe Palace, and Children Playing Knuckbones in the collection of the presidential residence in Ankara.

RADIVOJE ĐUROVIĆ Belgrade, October 15, 1950 – October 28, 2008. Academy / Faculty of Fine Arts in Belgrade, Department of Painting, completed in 1974, and postgraduate studies in 1978, in the class of Professor Stojan Ćelić. He devoted his whole life to art, living and working as an independent artist in Belgrade, New York (late eighties), London (from 2001 to 2005). He did not exhibit much and often independently. From 1976, when he opened his first solo exhibition (paintings and drawings) in the Gallery of the Kolarč National University, until 2005, when he had his last solo exhibition (paintings) in the ULUS Gallery, he had five more: 1979 in the Gallery Grafički kolektiv (drawings) ; 1981 in Nikšić (paintings and drawings); 1986 in the KNU Gallery (pictures); 1993 in the Graphic Collective Gallery (collages); 1999 in the ULUS Gallery (pictures) together with Zoran Grebenarović and Mladen Mićunović). Since 1973, he has participated in a large number of collective exhibitions, in Yugoslavia and Serbia, in France, the Netherlands and Great Britain, and he has also received several important awards: he received the award of the October Salon for painting in 1989, and in 1986 the award of the SIZ of Culture of Belgrade for the best . independent exhibition of paintings at Kolarčevo National University. He painted, drew, made collages, and he was no stranger to design, art equipment for magazines and books. He used oil, acrylic, mixed technique, colored pencils. At the end of the 1970s, he worked on the creation of mosaics in the Serbian National Theater in Novi Sad and in the Television building in Košutnjak. He was a member of ULUS since 1975.

Painter and professor George Boschan was born in Subotica in 1918, in the family of Samuel and Ela Boschan. He was a student of the Subotica high school and cartoonist of the Subotica satirical newspaper "Grimasz". He graduated from the Academy of Fine Arts in Belgrade in 1946, and then special courses in the class of Ljubo Babić in Zagreb and Marko Celebonović in Belgrade. He was a member of ULUS and one of the founding members of the group "Samostalni" and "Belgrade Group". As a painter, he is preoccupied with the problem of the relationship between man and society, family in the narrower sense, patriotism. As a professor at the Academy of Fine Arts in Belgrade, during his teaching and teaching work for the subject of painting from 1949 to 1978, he participated in the constitution of the work of this higher education art institution, including in the drafting of the first Statute of the Academy (1957). According to Aleksa Celebonović, he understood his role as an interpreter and instigator of general cultural upliftment, and not only as a transmitter of technical knowledge or as an example for stylistic emulation. Gyorgy Boschan is the winner of several awards, such as Art colony Ecka and Forum awards. He died in Belgrade in 1984. In 1987, Dr. Nada Boschan donated twenty-six of his paintings to the City Museum of Subotica, thus establishing the Gyorgy Boschan Gift Collection in the painter's hometown. In addition to his origin, Gyorgy Boschan is also connected to Subotica in many ways through his professional involvement, primarily in painting and exhibitions. He exhibited in Subotica for the first time in 1938 at the Exhibition of Young Artists of Yugoslav Hungarians, then already as a student of the Belgrade Academy of Arts. The members of the Boschan family in Subotica had an important role in the development of chess as a sports discipline, and in the revolutionary and Zionist movement, as well as in the field of art in the period between the two world wars. Many of the family became victims of the Holocaust. By getting to know the roots and beginnings of Gyorgy Boschan's activities, we can carry out a revaluation of his art and connect it both with the personal history of the artist and with the current events of the art and politics of the time in which he lived. The exhibition is accompanied by a catalog with the study of Dr. Olga Kovačev Ninkov Gyorgy Boschan AND SUBOTICA, and the study of Ljubica Vuković Dulić Gyorgy Boschan – ACADEMY STUDENT AND PROFESSOR. Among the entire catalog, a list of works by Gyorgy Boschan in public collections is included, of which works from the City Museum in Bečej, the City Museum of Senta, the City Museum of Subotica, the Jewish History Museum in Belgrade, the Museum of Contemporary Art in Belgrade, the Contemporary Gallery are on display. Subotica and Contemporary Galleries Zrenjanin.

Lucien René Mignon (1865-1944) is a French painter, illustrator, lithographer and pastellist, who was one of the first pupils and disciples of Pierre-Auguste Renoir. Born September 13, 1865 in Château-Gontier, Lucien Mignon attended the School of Fine Arts in Angers. He left for Paris and became a pupil of Jean-Léon Gérôme at the School of Fine Arts in Paris where he was admitted in 18861. He exhibited at the Salon of French Artists in 1889 a painting entitled Une flânerie sentimentale2. He then exhibited with the National Society of Fine Arts (SNBA) from 1895 drawings and paintings of landscapes inspired by Angers; he lived at that time in Paris at 79 rue Dulong3. In 1898, at this same salon, he exhibited three canvases, including landscapes inspired by Fontainebleau. In 1902, he divided his time between rue du Cardinal Lemoine in Paris and Montigny-sur-Loing, which inspired him with landscapes that he exhibited at the SNBA of which he was a member. In 1908, he presented La Liseuse there for his last exhibition at this salon before the war was in 19104. He worked for the publisher Édouard Pelletan, who exhibited his work (February 1896)5. Around 1909, he left the Fifth arrondissement of Paris and settled in Cagnes-sur-Mer, producing Provençal landscapes and motifs; he became close to Auguste Renoir, whose portrait he painted in 1913. Mignon's style is very close to that of Renoir, and his so-called "Ingres" period6,7. From this period dates Peaches and Green Almonds, a painting exhibited at the Musée d'Orsay8. In the 1920s, he continued to exhibit at the SNBA. He has also done commissioned work for the Ministry of Public Works related to historic buildings. Married, he had a son, René, who married in 1925 Jacqueline Proust, the daughter of the painter and decorator Maurice Proust (1867-1944), who was very close to Lucien9. He died at his home in the 7th arrondissement of Paris on March 13, 1944. In October 1919, shortly before Renoir's death, an American gallery owner, Mr. Miller, acquired drawings by Mignon signed by him. A few months later, 130 drawings by Mignon appear on the American market, but... with Renoir's signature. The fraudulent sale took place in New York in the name of a supposed "Baroness Zimmermann", who died in 1918. It took the intervention of experts like Charles Lewis Hind and Joseph Pennell to demonstrate the scam: the baroness did not exist , and the drawings were of Mignon, which had not asked for anything

Maurice Mendjizky, French name of Maurycy Mędrzycki, born July 20, 1890 in Lodz (Poland) and died May 8, 1951 in Saint-Paul-de-Vence (Alpes-Maritimes), is a French painter of Polish origin. A museum has been dedicated to him, the Mendjisky-Schools of Paris museum, created by his son, Serge Mendjisky. Opened in April 2014 in a former artist's studio built by Mallet Stevens in 1932 but closed in January 2017 for financial reasons, it was located at no. 15 square Vergennes in the 15th arrondissement of Paris. This museum was more widely devoted to the promotion of painters from the first (1912-1939) and the second School of Paris (1945-1960). His father is a tinsmith. Very early, he is gifted for the artistic disciplines. Initially passionate about music, he went to Berlin at an early age to study at a composition school. But, an excellent draftsman, he finally took an interest in painting and left for Paris. Between 1906 and 1907, he made a quick passage in the studio of Fernand Cormon at the School of Fine Arts in Paris. He quickly left the workshop for a freer life where he worked a lot and was quickly noticed by the great merchants of the time. He exhibited at Georges Petit in 1912. The preface to the catalog is by André Salmon. These same years, he met Léopold Zborowski, one of the great art dealers of the time and became friends with Amedeo Modigliani, Pablo Picasso, Auguste Renoir. Indeed, it was in 1913 that he met Renoir. The latter regularly invites him to his home in Collettes, in Cagnes-sur-Mer. Enthused by the light and the atmosphere of the Côte d'Azur, Maurice Mendjizky encourages his comrades, Modigliani, Chaïm Soutine, Léonard Foujita to join him. After a stay in Poland and Russia, he returned to Paris and met Alice Prin who would later become the model Kiki de Montparnasse. In love, they lived as a couple for three years until 1922. In 1921, he took part in the first exhibition organized at the Café du Parnasse by Auguste Clergé and Serge Romoff. But after breaking up with Kiki, he leaves Paris for the South and takes refuge in work. He moved to Saint-Paul-de-Vence where he met his future wife Rose, with whom he would have two sons: Claude, born in 1924, who was assassinated by the Nazis fourteen days before the liberation, and Serge, born in 1929, more young resistance fighter from France. That same year, Léon Zamaron, police commissioner and great art lover, undertakes to buy 50% of his production from him. After several exhibitions at the Georges Petit gallery in Paris, Maximilien Gauthier organized an exhibition for him at the Kleiman gallery in 1933. Painter revolted by the rise of fascism, he founded with Paul Signac, Paul Langevin and Frédéric Joliot-Curie, the Movement of Intellectuals for Peace. Engaged in the resistance, the Mendjizky family emerged bruised from the years of war: his wife was arrested in 1942, his eldest son executed, his entire family exterminated in Poland. Inconsolable, ill, he devoted the last years of his life to painting and drawing the heroic resistance of the inhabitants of the Warsaw ghetto. Between 1947 and 1951, he devoted himself to the creation of his collection of drawings. 31 drawings will be published by him with an introduction to a poem by Paul Éluard. Picasso, after seeing the drawings of the Warsaw Ghetto will say: "It's a masterpiece, it's a real symphony of black and white"

Ion Theodorescu-Sion (Romanian pronunciation: [iˈon te.odoˈresku siˈon]; also known as Ioan Theodorescu-Sion or Teodorescu-Sion; January 2, 1882 – March 31, 1939) was a Romanian painter and draftsman, known for his contributions to modern art and especially for his traditionalist, primitivist, handicraft-inspired and Christian painting. Trained in academic art, initially an Impressionist, he dabbled in various modern styles in the years before World War I. Theodorescu-Sion's palette was interchangeably post-Impressionist, Divisionist, Realist, Symbolist, Synthetist, Fauve or Cubist, but his creation had one major ideological focus: depicting peasant life in its natural setting. In time, Sion contributed to the generational goal of creating a specifically Romanian modern art, located at the intersection of folk tradition, primitivist tendencies borrowed from the West, and 20th-century agrarian politics. Initially scandalized by Theodorescu-Sion's experiments, public opinion accepted his tamer style of the mid to late 1910s. Sion was commissioned as a war artist, after which his standing increased. His paintings alternated the monumental depictions of harsh environments, and their inhabitants, with luminous Balcic seascapes and nostalgic records of suburban life. Their search for visual concreteness was a standard for the Anti-Impressionist emancipation of the Romanian artistic scene in the interwar period. By the mid-1920s, Sion's style became a visual component of the Neo-Traditionalist, "Romanianist" and neo-Byzantine current formed around Gândirea literary magazine. In the years before his death, the emergent avant-garde was voicing criticism of his new stylistic and ideological choices. Sion's oscillation between modernity and parochialism, his flirtation with authoritarian politics, and the eventual decline of his work endure as topics of controversy. The son of a Romanian Railways brakeman and the peasant-woman Ioana Ursu, Theodorescu-Sion was born in Ianca, Brăila County, and baptized into the Romanian Orthodox Church. On both sides, his family had origins in Transylvania's Apuseni Mountains and the Breadfield, regions at the time still part of Austria-Hungary; by popular account, some were Moți, that is to say ethnic Romanian herders with a distinctly rustic lifestyle. Ion spent his early childhood on the Bărăgan Plain, but grew up into a passionate hiker of the Carpathian Mountains. In 1894, having attended primary and secondary school in the Danube port of Brăila, the boy left for Bucharest to study at the National School of Fine Arts, and graduated in 1897. From 1904 to 1907, with a Ministry of War scholarship to his name, he traveled to France. Sion consequently enlisted at the École nationale supérieure des Beaux-Arts, studying under academic masters Jean-Paul Laurens and Luc-Olivier Merson. He was a rebellious student, shaped by socialist ideas, and squandered his scholarship money.

Camil Ressu (Romanian pronunciation: [kaˈmil ˈresu]; 28 January 1880 – 1 April 1962) was a Romanian painter and academic, one of the most significant art figures of Romania. Born in Galați, Ressu originated from an Aromanian family that migrated to Romania from Macedonia at the start of the 19th century. His father, Constantin Ressu, who was a journalist and had studied law in Brussels, was an artist in his spare time. In 1887, Ressu was enrolled at the School of Fine Arts in Bucharest. He continued his studies at the School of Fine Arts in Iași, where he studies with painters Gheorghe Popovici and Gheorghe Panaiteanu Bardasare. In 1902, he finished his studied in Iași, being awarded a silver medal, and left Romania for Paris, seeking to further develop his art skills. In Paris, he studied at the Académie Julian. In 1908, Ressu returned to Romania and became interested in social matters, contributing satirical drawings to several publications, including Furnica, Facla and Adevărul. In the same year, he became a member of the Social Democratic Party of Romania (or, rather, its surviving Bucharest circle, Socialist Union of Romania, formed around the paper România Muncitoare). In 1910, his works (landscapes and paintings with bucolic themes) were featured in the Artistic Youth exhibition. Ressu opened his first personal exhibition in 1914, in Bucharest. In 1917, along with the painters Nicolae Dărăscu, Ștefan Dimitrescu, Iosif Iser, Marius Bunescu and the sculptors Dimitrie Paciurea, Cornel Medrea, Ion Jalea and Oscar Han, he founded the Art of Romania association in Iași. During these years, he further developed his style as a landscape painter, and frequently visited the countryside in summer to paint portraits of peasants working in the fields and views of villages. He also painted still life, portraits of various personalities, and nudes. In 1921, he became the president of the Artists' Union of Romania. In 1925, after a prolonged stay in the village of Ilovăț, Mehedinți County, Ressu finished one of his best-known paintings, Ploughmen Resting, currently housed in the Iași Museum of Art. Aside from his artistic pursuits, Camil Ressu was a professor at the Academy of Fine Arts in Bucharest until 1941. From 1950, he was the honorary president of the Artists' Union and a professor at the Nicolae Grigorescu Art Institute. In 1955, Romania's Communist regime awarded him the title of "People's Artist", and he later became a member of the Romanian Academy.

Ljubisav Milunović was born on September 5, 1948. in Ljubava, Kruševac municipality. He graduated from the Faculty of Fine Arts and Postgraduate Studies in 1978 in the class of Professor Mladen Srbinović. He exhibited at numerous collective and individual exhibitions.His works are in eminent private domestic and foreign collections.Ljubisav Milunović is a representative of magical realism, focused on surrealistic, allegorical landscapes and satirical quotes from the history of art. He lives and works in Belgrade. Romantic and symbolic in the painting of this loner in the Belgrade art practice, he approaches the classics, but at the same time emphasizes the character of his commitment. Art is an infinity in which no one must leave it to chance. Milunović chooses poeticization - he defends himself against the roughness that allows bad drawing and improvisation. Which leads from the individual and unique to the general, arbitrary. In a time of general identity crisis - the search for the self - that is the goal of this creativity. Creativity that does not obligate anyone to anything. What could be said - it is there, it exists as a "chanting from the darkness". /Bratislav Ljubišić/ About Ljubisav Milunovic and his artwork While seeking out their own identify, many contemporary painters go to artistic extremes, thereby denying some of the greatest achievements of classical painters. However, there are some painters who can, through their work, prove that originality and recognizable style are possible to attain through familiarity with and use of old techniques together with immense talent and unlimited imagination. One of these is Ljubisav Milunovic. His art is convincing, suggestive, and filled with thought-provoking images. The poetic symbolism of Ljubisav Milunovic is such that nothing is excessive or without reason. Ljubisav Milunovic’s world view—an imaginary view, an ideal view, a realistic view, everything except that which is empty and senseless--is the leitmotif of his work. The magic realism of Ljubisav Milunovic is unique, springing from the depth of his painter’s sensibility, and visible in his imaginary landscapes and portraits of friends and colleagues. His paintings are evoked from his imagination, showing us that realistic painting need not be simply photographic reproduction. His paintings speak of his delicate sensibility for what is irrational in a rational world. That sensibility is wrought of emotion, beauty, fear and longing. In the very centre of Milunovic’s paintings is a human--great or small, good or evil, but always human. Ljubisav Milunovic is faithful to classical painting. His composition is clearly defined, strong and harmonious. His paintings are sincere and fresh. Milunovic did a painting in which a resigned Vermeer looks at a blank wall as he contemplates painting a composition of Mondrian. It is probably this painting that represents a manifesto Milunovic’s art.It also represents his bitter and ironic protest against the world in which various ,,concepts,, and ,,campaigns,, undermine talent, craft, knowledge and painterly skill. Milunovic’s paintings are not, however, in need of a manifesto. His art is the art of pure painting, in the best sense of the expression. It is art that is easily accessible to any artist—Giotto, Piero della Francesca, even unknown artist…as well as by Vermeer himself.

Ignjat "Ignjo" Job (Serbian Cyrillic: Игњат Јоб; 28 March 1895 – 28 April 1936) was an important representative of colour expressionism in the art scene of Yugoslavia during the 1930s. Job's landscapes of Dalmatia are reminiscent of the style of Van Gogh. He is best known for his series of paintings inspired by life on the island of Brač. Job said that “the beneficial influence of the Brač landscape can be felt, the hot sun, blue sea, and green branches of olive trees swayed by the breath of the maestral”. His paintings depicted the Mediterranean landscape, motifs of the town of Supetar, fishing themes, and more rarely portraits and nudes. Ignjat Job was born in Dubrovnik on 28 March 1895. His family hailed from Udine, modern-day Italy, but came to identify first as Catholic Serbs and then as Croats; Job himself identified as a Serb. Job's father died when Job was 5 years old. He attended school in Dubrovnik until 1910. An important influence on his early intellectual and artistic development was his older brother Cvijeto (1892–1915), whose art studies in Belgrade and Munich came to an end when he went off to fight in the First World War for the Serbian Army. As an active supporter for independence from Austria-Hungary, the young Ignjat Job was arrested in 1912 along with other young nationalists and sentenced to one month in prison. In 1913, when Job was 18, his daughter, Marija, was born. Arrested again in 1914, he spent time in Šibenik prison, then removed to a mental hospital, thanks to good connections, until September 1916. Traumatic experiences from his two-year stay in the mental hospital oppressed Job in the years that followed, and left a mark on his work, most notably on Madmen in the Yard, a drawing thought to have been made between 1916 and 1919. In 1917 Job moved to Zagreb with his mother and younger brother Nikola, where he enrolled in the Arts and Crafts College (Viša škola za umjetnost i umjetni obrt). Job fell in love, and married Viktorija Oršić. After spending the summer in Dubrovnik and on Lopud, the couple moved back to Zagreb for the autumn. However, the relationship was not to last, and they divorced in 1920. In that same year, Job's mother died, and due to irregular attendance, he lost his place at college. The family fortune had been used up in enforced war loans, the purchase of the flat in Zagreb, and the education of the children. Job now found himself dependent on the goodwill of friends, and increasingly prone to bouts of depression and ill-health. In December 1920, Job went to Italy, visiting Rome, Naples and Capri. Travelling back through Dubrovnik and Zagreb, he went on to Belgrade, spending time there with local modernist artists - most notably Petar Dobrović. There also, in 1923, Job met and married his second wife, Živka Cvetković, and their daughter Cvijeta was born in the summer of 1924. In the spring of 1925 Job was diagnosed with tuberculosis, and spent the summer being treated at Ovčar-Kablar Gorge, after which the family moved to the village of Kulina, near Kruševac. There he painted his memories of the coast, mostly on small panels. Job converted to Orthodox Christianityand married his second wife in the Church of Saint Sava in Belgrade. Job's son Rastko, named after his godfather the writer Rastko Petrović, was born in October 1925. He soon fell ill and died in March of the following year. The death of his infant son left a deep impression on Job's mental and emotional state. In the summer of 1927 the family moved to Vodice, near Šibenik, and from 1928 they lived in Supetar on the island of Brač. There, Job embarked on the most creative time of his artistic career, and his style began to resemble that of Van Gogh. Job's focus was on recording the impulse of his personal feelings, and strong expressiveness became a feature of his work. The following year, 1929, he held his first solo exhibition in Split, which was well received by public and critics alike. By his next solo exhibition at the Salon Galić in Split, Job's style had developed more toward expressionism. Between 1934 and 1935, Job lived in Belgrade and Zagreb, then returned to Supetar. He died of tuberculosis in a Zagreb clinic on 28 April 1936. Ignjat Job's best, most creative and expressive work was produced in a very short period of time. In the early 1920s, his painting still shows the influence of the Spring Salon, with rounded forms in more muted colours. However, inspired by the scenes of his native Dalmatia, and driven by his own personal demons, Job went on to become one of the most expressive painters in the Croatian modern art scene of the 1920s and 30s. In his later works he demonstrated fauvism techniques and strong, expressive use of colour. Job saw landscape as a symbol, and used colour as an expression of his emotions, his personal experience of life and his reaction to the environment and its native people. His art was grounded in the earthy island lifestyle, and he pursued his own personal vision. As the critic Igor Zidić says "All of the content in Job's work, from 1928 to his death, are locally and regionally marked, always concrete, borrowed from the real world and the little towns of Dalmatia in which he scrimped and lived, full of ambiental tone and colour, melodies, events and figures... He was a careful observer, with a lot of sense for humour, for the comic and tragicomic, for the mad, the ridiculous, the fantastic and the drunk."

Bernard Dunstan RA (19 January 1920 – 20 August 2017) was a British artist, teacher, and author, best known for his studies of figures in interiors and landscapes. At the time of his death, he was the longest serving Royal Academician. Bernard Dunstan was born in Teddington, Middlesex, in 1920. He studied at Byam Shaw School of Art in 1939, then at the Slade School of Fine Artin London from 1939 to 1941. In 1947 he was elected a member of the New English Art Club, and was president of the Royal West of England Academy from 1979 to 1984. In 1968 he was made a full member of the Royal Academy. Dunstan taught at the Royal West of England Academy in Bristol from 1946 to 1949, the Camberwell School of Art from 1950 to 1964, the Byam Shaw School from 1953 to 1974, the Ravensbourne Art College (now the Ravensbourne College of Design and Communication) from 1959 to 1964, and City and Guilds of London Art School from 1964 to 1969. Artists whose influence inform his painting include Renoir, Bonnard, Vuillard, Walter Sickert, and Philip Wilson Steer. His works are represented in the National Portrait Gallery, the Royal Collection, Windsor, and the Museum of London. He has written a number of books on painting, including Painting Methods of the Impressionists (1976). Dunstan was married to fellow painter and Royal Academician Diana Armfield, who survived him. He is the father of the physicist Professor David Dunstan. He died on 20 August 2017, aged 97.

Milivoj Uzelac (1897–1977) was a painter influential in the Zagreb modern art scene of the 1920s and 30s. During the Zagreb Spring Salon of the 1920s, he participated with Vilko Gecan, Marijan Trepše and Vladimir Varlaj as the Group of Four. Uzelac spent much of his professional life in France, and is best known for his portraits and interior scenes with bohemian characters. Milivoj Uzelac was born 23 July 1897 in Mostar to a Serbian family, which was then part of Austria-Hungary. In 1903, the family moved to Banja Luka. At the gymnasium there, he started drawing and painting under Pero Popović, a former student of Vlaho Bukovac. There he met fellow artist Vilko Gecan, with whom he developed a lasting friendship. Uzelac's father died in the autumn of 1911, and the following year his mother took Milivoj and his two sisters to Zagreb. In 1912-13, Uzelac, together with Vilko Gecan, attended the private art school of Tomislav Krizman. In November that year, they first encountered the work of Miroslav Kraljević, who was to become a significant influence on the art of their generation. At the age of 16, Uzelac passed the entrance exam for the College for Arts and Crafts, and spent two years studying under Oton Iveković. In 1915, during the First World War, Uzelac moved to Prague where he worked in the studio of the painter Jan Preisler, while attending classes at the Academy. He was later joined by Vilko Gecan, Marijan Trepše and Vladimir Varlaj. Following the end of the war, in 1919 the four returned to Zagreb, where they exhibited their work at the Spring Salon. In the autumn of 1920, the Artists’ Association allotted Uzelac a studio in Zagreb, where he produced some of his strongest work. In 1921, he spent the early part of the year in Paris, in the Montparnasse area. In 1923, Uzelac moved to Paris, taking up his residence in the suburb of Malakoff. He painted extensively, and absorbed the current ideas of classicism and cubism. He fitted well into his new surroundings, receiving commissions and successfully selling his work. Only one year after his arrival, he entered four paintings into the autumn salon. By 1925, Uzelac's success led to his first solo exhibition in Paris at the Marguerite library.[3] He was working hard during the day and living a full social life at night. Success brought prosperity, and he socialized with many influential people and collectors, as well as with beautiful women. In 1928, he moved from the suburbs into a studio in town, where Vilko Gecan visited him that summer. In 1930, Uzelac met Rosemarie da la Rayere, who was to become his permanent model and partner in life. From 1935 Uzelac increasingly spent time in the south of France, and in 1963, the family moved to Cotignac. In 1971, the Modern Gallery in Zagreb held a retrospective exhibition of his work. In 2008-9, the Art Pavilion held a posthumous retrospective. Milivoj Uzelac died on 6 June 1977 in Cotignac, France.

Bogdan Šuput (Sisak, September 6, 1914 - Novi Sad, January 20, 1942) was a Serbian painter, a member of the "Desetorica" group. He was born on September 6, 1914 in Sisak. At the age of nine, he moved with his parents to Novi Sad. He attended the State Boys' Gymnasium in Novi Sad, and later entered the Royal Art School in Belgrade, where his professors were Beta Vukanović, Dragoslav Stojanović, Simeon Roksandić, Ljuba Ivanović and Nikola Bešević. Considering him as his most gifted student, Ljuba Ivanović urged him to dedicate himself exclusively to graphics, and when the Academy of Fine Arts in Belgrade was founded in 1937, he proposed him as his assistant. However, Šuput, who was in Paris in the meantime (Matica srpska sent him to the Paris International Exhibition as a young talented artist) and was delighted with the color and oil painting, refused the offer of his favorite professor. In 1935, he became an associate of the Students' Matica in Novi Sad. At the same time, he started publishing graphics and caricatures in the Novi Sad newspapers "Dan" and "Reggeli Újság", as well as in Belgrade's "Politica" and "Ošišana ježu". From 1936 to 1938, he attended the Academic Course at the School of Art in Belgrade, from which he graduated in order to go to Paris for painting training. There he participated in the founding of the Association of Yugoslav fine artists living in Paris in 1938. At that time, he published graphics with social themes in the almanac "Vojvođanski zbornik" and the magazine "Naš život" in Novi Sad. Group of Ten He returned from Paris to Novi Sad on June 23, 1939 and became a member of the "Desetorica" group, which included Ljubica-Cuca Sokić, Danica Antić, Jurica Ribar, Stojan Trumić, Aleksa Čelebonović, Nikola Graovac, Dušan Vlajić. , Bora Grujić and Milivoj Nikolajević. Immediately after the formation of the "Ten" group, its members from February 25—7. In March 1940, they organized a joint exhibition in the large hall of the Art Pavilion "Cvijeta Zuzorić" in Belgrade. According to an art critic: Bogdan Šuput is undeniably the strongest and most expressive talent from this likable group. In mid-March 1940, Šuput visited Ulcinj, and in August the Ljubija mine, for rest and in search of new painting motifs. In the fall of the same year, he went to Sarajevo for military service. In the April collapse of Yugoslavia in 1941, he ended up in German captivity. In the Stalag IV A prison camp in Olbersdorf, in Saxony, he belongs to the illegal organization "Drug", but he is active in the cultural and artistic life and does scenography for the performances there. He managed to leave the camp on November 1, 1941, and after eleven days he arrived in Novi Sad, but on January 23, 1942. shot together with his mother and aunt in a raid carried out by Hungarian fascists.

Mile Tasić was born in Subotica on June 30, 1954. He finished elementary school and high school in his hometown. After completing his law studies in Novi Sad, he was employed at the National Theater in Subotica, where he worked for seven years. After that, he moved to the City Library in Subotica, where he was employed as a lawyer. He passed the library exam in 1991 and transferred to the Local Department of the City Library in 1994. In 2005, as the author of the show Relaxed, he began his unique series of all-night radio shows in which he presents our fellow citizens who have distinguished themselves in terms of social and cultural activities. In the same year, after the beginning of the broadcast of the television program, he realized his author's show in a new medium with great success. The realization of a new author's series called Art Traces begins, where it presents everything that is important in the field of art culture of the city. During several years of being a journalist in the Opusteno show, Mile Tasić interviewed and presented to the public the work of many important social and cultural creators. It was recorded that over 200 artists, creators, public and social workers were guests in the City Television studio, among them those who left a lasting and unrepeatable mark on the cultural and social map of the city, such as art historian Bela Duranci, sculptor Sava Halugin, painter Sajko Istvan , gallerist Stevan Francer, musician Arpad Bakoš, book seller Mirko Kovač and many others. From 2005 to the present day, Mile Tasić managed to record over 500 contributions from the world of artistic creation of the city and its surroundings with the author's show Art traces. From the first show until today, the activities of cultural institutions such as the Modern Art Encounter Gallery, the City Museum, the Vinko Perčić Native Gallery, the City Library, the Open University, national cultural centers as well as numerous schools, galleries and studios have been continuously recorded. Among others, in the show Art traces, famous artists from Subotica such as Augustin Juriga, Ruža Tumbas, Miroslav Jovančić, Erika Janovič were guests, and the works of Ferenc Eisenhut, Ana Bešlić, Slavko Matković, Emil Kadirić and many other prominent artists were presented. During a long series of years, Mile Tasić collaborated with the magazine Likovni život, in which he recorded the creativity of local artists. He wrote for the magazines Luča, Rukovet, Ex Panonia, Zlatna greda, Pančevačko čitalište, Dimenzije (Slovačka) and Suboticke novine, in which he has his regular column called Visual Trace. He publishes works in professional periodicals in the field of librarianship. During his thirty years of work in culture, he organized numerous exhibitions, and his successful performances with writer and artist Slavko Matković and actor Ištvan Nađa, with whom he also organized successful exhibitions at the National Theater and the Small Gallery of the City Library, were noted. As an artist, Mile Tasić had twenty successful exhibitions both at home and abroad, of which it is worth noting the award-winning Crucifixion project in New York in 1998, and his participation in the International Biennale of Contemporary Art in Florence (2001), where he presented his work Visual echo of 2000 years of Christianity .

KATARINA DJORDJEVIĆ, MA (1966), graduated from the Faculty of Fine Arts in Belgrade in 1992. She finished her postgraduate studies at the Faculty of Fine Arts in Belgrade, in 1994. She is currently in title of the full professor at the subjects of Drawing and Painting, and is preparing the defense of the doctoralartistic project at the Faculty of Arts in Niš. She has been a member of the Association of Fine artists of Serbia (ULUS) since 1993. She has exhibited in group at over 200 exhibitions in the country and abroad (Canada, Spain, Italy, Czech Republic, Greece, Bulgaria, Turkey, Iran, Macedonia, Montenegro, Bosnia and Herzegovina), and 32 times independently (Serbia, Iran, Bulgaria, Turkey, Spain , Italy, Bosnia and Herzegovina). She has won 7 awards for painting and graphics. Solo exhibitions and awards (selection): in 2012 – Mostar, Bosnia and Herzegovina, the gallery Aluminium, an exhibition of paintings and drawings The Roots; in 2012-Toffia, (RI), Italy, 33officinacreativa, an exhibition of drawings and linocuts: The Ancestors; in 2012- the Kirkland Lake, Ontario, Canada, the Museum of Northern History, the Award for Painting at the 5th Contemporary Art Exhibition My Space in Miniature; in 2012- Belgrade, the gallery ArtCentar, the First award for the best linocut Linobravure 2012, the Exhibition of linocuts and linogravuras Linoart; in 2011- Almeria, Mojacar Playa, Spain, the Foundation Valparaiso, the paintings exhibition The Spiral Cycle; in 2010- Veliko Tarnovo, Bulgaria, the gallery Spectrum, the drawings exhibition; in 2008- Izmir, Turkey, Gallerisi Yasar Ali Gunes, the exhibition of paintings; in 2008- Niš, the Gallery of contemporary visual Arts (GSLU), the Gallery Serbia, the exhibition of paintings, drawings and objects; in 2008- Montana, Bulgaria, the Gallery Kutlovica, the paintings exhibition; in 1996-Belgrade, the Kolarac Art gallery, the paintings exhibition.

János Czencz (Ostffysszonyfa, September 2, 1885 – Szekszárd, January 12, 1960) painter. After graduating from the Győr Teacher Training College, he taught in Bihar county. Between 1907-12, László Hegedűs and Edvi Illés Aladár were masters at the Academy of Fine Arts, and in 1912, Tivadar Zemplényi at the Art Academy. Between 1935-44, he lived in the Artists' Colony on Százados út, then before the war he moved to his holiday home in Bátá. He was a member of the Workers' Guild. He mainly painted attractive portraits of life and landscapes. A significant part of his works were still life, nudes and female portraits. He depicted his female figures in richly colored clothes, often in folk costumes, in a materially detailed manner. He was greatly influenced by István Csók, his nudes placed between colorful curtains testify to this. His landscapes captured the details of the Danube bank, as well as views of Báta and Szekszárd. He exhibited his first important painting in 1913 in the Műcsarnok, titled Before the Mirror. Between 1918-31 he was co-director of several exhibitions. Some of his works are owned by the Hungarian National Gallery. In 2013, an art album was published, presenting his life and work in Hungarian, English and German, with nearly 500 photos of his works. Authors of the book: art historian Mimi Kratochwill, dr. Art writer Balázs Feledy, Bélán Fertőszögi, Róbert Schuller, photo and editing Gizella Rühl.

Bogdan Kršić (1932. Sarajevo – 2009. Belgrade), graduated from the Academy of Applied Arts in Belgrade in the class of prof. Mihail S. Petrov, and then continued his studies in Prague with prof. Karel Svolinski. Since 1957, he has exhibited independently (Belgrade, Brno, New York, Prague, Paris…) and at collective exhibitions in the country and abroad (Belgrade, Bucharest, Krakow, Warsaw, Berlin, Barcelona, Paris, Vienna, Minsk, Ankara…). He was a professor at the Faculty of Applied Arts in Belgrade and a member of several art associations (ULUS, ULUPUDS, Graphic Collective, EX LIBRIS Association, Czech Graphic Artists Association HOLLAR). He has won numerous awards and recognitions (selection): The Golden Needle of ULUS, The Big Seal of the Graphic Collective (1963); Graphic Biennale Gold Medal, Buenos Aires (1968); Golden Pen of Belgrade (1968, 1970); October Book Equipment Salon Award (1970); October Award of the City of Belgrade (1975); First International Biennale Award, Ankara (1986); Special Award of the Dry Needle Biennale, Užice (1993); Small Seal of the Graphic Collective (2007). Several books / studies on Kršić's work have been published: Dragan Đorđević, Bogdan Kršić (1968), Vanja Kraut, Bogdan Kršić-grafički listovi (1987), Slobodan Lazarević-Miomir Petrović, Demijurg (1997), Branislava Jevtović, U grotesknom pozorištu Bogdana Kršića (2004).Bogdan Kršić, was a versatile artistic figure who left an indelible mark in the artistic production of the second half of the 20th century and the beginning of the new millennium with his authentic authorial attitude and recognizable visual style. Kršić was a representative of the traditional school of graphic thinking, an erudite artist, who created an extensive and rich oeuvre in printmaking, graphic design, illustration, book design and ex libris, ceramics, scenography, heraldry – all of which come together in Kršić's recognizable poetics dedicated to Man and his destiny eternally repeated. Educated based on the models and requirements of applied artistic practices, the works of Bogdan Kršić are aesthetically carefully thought-out, as well as spiritually and intellectually rich and nurtured. The entire artistic practice of Kršić is focused on a philosophically intoned observation of Humanity, through the historical perspective of European literary, theatrical and artistic heritage. An excellent connoisseur of humanistic and classical scholarship, Kršić examines the trajectory of history/civilization, the im/possibilities of its chronology, logic and the repetition of certain phenomena. The ironic, enigmatic, grotesque, surreal, oneiric, hallucinatory, apocalyptic, eccentric, parabolic, and the fantastic, are just some of the creative layers that shape the ambience and micro-universe of his works. Close to the spiritual brotherhood of great masters – Goya, Dürer, El Greco, Kahlo, Bosch, Ensor – Kršić formulated unique visual narratives and notes on the rises and falls of Man through unique paraphrases of his famous predecessors; he celebrated the Genius of Man, but he also, in a way both lucid and sarcastic, questioned and relativized Man’s dogmas and shed light on his delusions. An energetic researcher of literary sources - Erasmus of Rotterdam, Sebastian Brant, Kanjoš Macedonović, Benvenuto Celini, Ivan Goran Kovačić, Njegoš, Milan Komnenić - instead of quotations or artistic homages, Kršić led an active creative dialogue with the anthological achievements of literature and their famous authors, examining an ambivalent relationship to History, Culture, Memory.

ZDRAVKO VELOVAN (1954 - 2017) He finished the painting department in the class of prof. Milice Stevanović, and at the same department and with the same professor, he also completed postgraduate studies. In addition to painting, he has been involved in drawing and graphics, and in recent years, extended media. He was a member of ULUS with the status of an independent artist. Apart from private collections, his works can be found in certain museums, galleries and other institutions. He had over twenty solo and over 300 group performances in the country and abroad and was the recipient of over twenty awards for his work, of which we highlight: 1987 FLU Fund award for drawing, 1989 FLU Belgrade Grand Prize for painting from the Fund Rista and Beta Vukanović", 1991. Honorary diploma of the jury at the III International Fine Arts Grand Prix in Nice, 1996. Participation in the exhibition "Critics have chosen 96" in KC Belgrade - selection of paintings. crit. Meet the Bosnians, "Paja Jovanović" award at the 1st Vršac art salon, two 3rd awards at the drawing exhibitions "Belgrade 97" and "Belgrade 2000", NUBS gallery, 2005. Jury praise at the ULUS autumn exhibition, 2006. Award for graphics at the First ULUS -'s "Graphic Method" exhibition, Jury Diploma at the First International Biennale of Ex libris in Pancevo, 2010. Prize for drawing at the VII Biennale of Fine and Applied Arts in Smederevo, 2013. First prize for assemblage at the VI International Exhibition of Collage and Assemblage in Belgrade, First prize at the VII EX-YU competition for graphics... Many people have written about the work of Zdravko Velovan - Bratislav Ljubišič, Sreto Bošnjak, Mileta Prodanović, Bojana Burić, Dragan Jovanović Danilov, Gordana Vasiljević, Aleksandar Milenković, Ljubica Jelisavac, Vera Vitorović, Nikola Šindik... But at this moment, when we forgive, the words of Gordana Vasiljević, uttered on the occasion of Velovan's exhibition of objects in the ULUS Gallery, come to mind five years ago: "If someone is a "rare bird" in Serbian painting, then it is certainly Zdravko Velovan (1954). So far, he has had about twenty independent exhibitions and seventeen awards for painting, drawing, graphics, ex-libris in the country and at international exhibitions. So why represent such an artist? Because Zdravko doesn't make a sensation out of his exhibitions, he doesn't chase the media, he doesn't chase critics, he doesn't chase anyone; he is a quiet artist who creates hard, one could say that he is an engaged artist in a peculiar way, in love with nature, but not in a way that deals with landfills and the question of how to clean them. .. The title of Velovan's exhibition, "Kreletka for rare birds" is as frightening as it is poetic. We are all rare birds - guinea pigs - in a seemingly beautiful cage. The objects, which Velovan exhibited to the public and which in several ways resemble Dušan's ready-made phase, testify to the author's attitude, original handwriting and aesthetics. All the objects were made in a combined technique - assemblage. Velovan's warning is discreet, strongly humorous, but beautiful". We believe that his admonition, his art work, his unobtrusive approach and his gracious smile will remain in our memories.

According to our data, Ángel Muriel is a contemporary artist. Ángel Muriel is a spanish male artist born in Cáceres (ES) in 1948. Ángel Muriel’s first verified exhibition was Otras Meninas at Sede Social de Telefónica in Madrid in 2002, and the most recent exhibition was Ángel Muriel - The dream of Reason at Galerie Ludwig Trossaert in Antwerp in 2016. Ángel Muriel is most frequently exhibited in Spain, but also had exhibitions in Belgium. Muriel has at least one solo show and two group shows over the last 14 years (for more information, see biography). A notable show was De Montparnasse a La Idea Pura - Viaje Por Las Vanguardias Del Sec XX En La Colección Serra at Sala kubo-kutxa in San Sebastián in 2003. Other notable shows were at Fundación Telefónica in Madrid and Galerie Ludwig Trossaert in Sint-Niklaas. Ángel Muriel has been exhibited with Manolo Valdés and Pep Guerrero.