It's turned quite a bit cooler here this week. On Tuesday and Wednesday, Belgrade was visited with a near-biblical downpour; subsequently, the sun has come back, but it is now in the pleasant mid-20s rather than the mid-30s, and it is noticeably colder when the sun sets, around 1830. It's *almost* jacket weather again, not quite yet, though. Full blown autumn is in the post, but won't be here yet for another 2-3 weeks.
It's been a very busy week here in Belgrade. This trip goes in waves; a few days of settling in, a long period of research, the a day or so's unwinding before the next long car journey. I have been doing 8-9 hour shifts in the art faculty library, trying to navigate my through a mountain of art historical telephone directories. In the main, my days have been spent in the company of Miodrag B. Protić, the first serious art historian of Yugoslavia, who was prodigiously active from the mid-50s right up until his retirement in 1981. Protić is a rather old fashioned writer, these days; his narrative is couched in the pseudo-scientific classificatory terms of art history in the 50s and 60s. he often categorises artists in rather strange ways, and his writing is fairly typical of art historical writing from Communist states; factual, "objective", and with regular references to the leading role played in artistic development by the guiding hand of the League of Yugoslav Communists, distinguished from the much more censorious Warsaw Pact art worlds, and the cultural liberalism of the West.
|Miodrag B. Protić, The Water Flower, 1981|
|Sava Sumanović, The Shepherdess, 1924|
|BITEF logo from the mid-2000s|
|Lazar Vujaklija, Piper, 1965. Zepter Collection, Belgrade|
|Dušan Otašević, Piazza de Chirico, 1995. Zepter Museum, Belgrade|
|Uroš Đuric, Portrait of Rasa T., 1992, Zepter Museum, Belgrade|