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P A L E T T E 56 SRBIJA • BROJ <strong>54</strong> • 2016.
PAINTER DIMITRIJE AVRAMOVIĆ (1815-1855) AND TREASURES OF OLD SERBIAN ART Glittering of Golden Seeds He was educated in Vienna, but also studied on Mt. Athos, Thessaloniki, Constantinople, Belgrade. He was one of the pioneers of the renewal of national self-consciousness in culture. We have the Charter of Chilandar today thanks to his transcript. He made important portraits, introduced the subject of “St. Nicholas returns sight to Stefan of Dečani” into Serbian icon painting, was founder of Serbian caricature. His “Apotheosis of Lukijan Mušicki” is a masterpiece. A romanticist formed on classical experience, close to Nazarenes and symbolists, perhaps the forerunner of surrealists. We have seventy-seven of his works in the Residence of Princess Ljubica in Belgrade, open until May 3 By: Dejan Đorić Nikola Kusovac is an art historian, who not only makes a living from art, but also lives for it. He recently purchased an extraordinary two-meter icon painted by Dimitrije Avramović for a larger sum of money. It is now in the Ružica Church in Belgrade, attracting attention with its beauty. Thus Kusovac also attracted attention to a jubilee: two centuries since the birth and a hundred and sixty years since the death of Dimitrije Avramović. A large exhibition was opened a year after the jubilee. He is an almost forgotten great Serb, interesting more to experts than the public, although his short life was filled with spiritual feats. He lived only forty years. He was born in Šajkaš, center of the Military Border for several centuries, an independent Serbian land within the Habsburg Monarchy, as well as the central port of the river fleet, which caused great trouble to the Ottomans. Already in elementary school, he drew events and heroes from national history, painted small icons on glass, sold in villages. After studying with painters in Novi Sad, he enrolled in the Imperial Academy of Art in Vienna. His main role model was Friedrich von Amerling, whose works he liked to copy. It was a time of completely different views of art. Students had to draw several years before they would start painting. Avramović was so remarkable, that already in his first year of studying, he was permitted to copy old masters in the gallery. He learned from Raphael, Tintoretto, Rembrandt, Mengs, Greuze, Italian, Spanish and Flemish artists. Like Petar Kočić, who studied philosophy in Vienna, and many other Serbian students abroad, Avramović was poor and hungry, but he absorbed knowledge at his drawing and historical painting classes, which were then lessons on religious painting. Miodrag Kolarić says that Avramović was recommended to Prince Mihailo Obrenović by Vuk Karadžić, who was portrayed by the painter in 1840 in Vienna. That same year, he began his sketches for the iconostasis and wall painting for the Cathedral Church in Belgrade. Both works were completed four years later, and he was afterwards engaged in church painting in Topola and Vrdnik. This au- Photo: Željko Sinobad, National Museum Archive, “National Review” Archive SERBIA • N O <strong>54</strong> • 2016 57
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I N T R O D U C I N G Newly built
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Srbija - nacionalna revija - broj 54 - engleski - niska rezolucija

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