Even
before the First World War, Belgrade, like a „Piedmont of South Slavs“,
attracted artists of various nationalities (Meštrović, Becić, Murat, Grohar).
After the war, from 1918 onward, the capital of the new state, Belgrade
became a natural center that artists from all parts of our country were
oriented towards. Due to its new function and position Belgrade became the
attractive nucleus of the new heterogeneous organism; such a position also
influenced its demographic development. It gradually began developing into
a modern European metropolis, drawing artists from all our regions and giving
them the opportunity to affirm themselves. Belgrade as a place to create
in was soon embraced by Milo Milunović, Petar Lubarda, Sreten Stojanović,
Toma Rosandić, Nedeljko Gvozdenović, Jovan Bijelić, Jerolim Miše, Mihailo
Vukotić, Ignjat Job, Anton Huter, Lojze Dolinar, Petar Palavičini, Marino
Tartalja, Lazar Ličenoski and many others.
Some
of them just passed through the town, others stayed for a longer or shorter
while; most came as soon as they graduated, or even completed their schooling
there and then chose to stay.
Many of them are almost impossible to separate from the art of the Belgrade
circle, for although born in other regions—Montenegro, Croatia, Bosnia and
Macedonia—their work marked the culture of Belgrade.
However, the fact that they were educated in different European centers,
contributed to the broadness of their artistic ideas and variety of artistic
directions. And so there are a great many artists in Belgrade that we call
Serbian and Yugoslav, but there are also more and more of those that we may
call Yugoslav and European.
In the continuity of contemporary Yugoslav art, among the authors whose
work is built into the foundations of Belgrade's artistic culture, we must
not omit to mention the name of Kosta Hakman. Born in Bosnia, educated in
Europe, he spent most of the creative period of his life in Belgrade and
reached the very summit of Belgrade painting between the two great wars.
