Artworks in the Collection

Woman (1934)

On the threshold of maturity in both life and art, at the age of thirtythree, Sreten Stojanović created his first large-scale sculptures, the Woman and the Fountain (1932). The classical balance achieved in these statues was repeated in the bronze figurine Woman from the Pavle Beljanski collection. It reflects the change manifested ever more frequently after 1928 in Stojanović’s sculpting concept: he moved from an emphasis on the plastic elements of the sculpture towards expressing the reality of life. Repeating his results from 1932, the posture of the Woman and the softness of modelling achieved in the Fountain, the figurine Woman preserved their monumentality, significant for modern classicism. While describing this tendency in the sculpture of the thirties, also Stojanović’s time, one of the most significant representatives of that period, Petar Dobrović wrote: “In order to achieve this, (sculptors) must combine the intellectualism of the twentieth century with the Renaissance, just as their predecessors in the Cinquecento combined the intellectualism of the Quattrocento with ancient Greece in order to reach a monumental style.” On the other hand, the characteristic poetization of expression, typical of Stojanović’s small-scale plastic art, endowed the small Woman with the intimate character of a sculpture “one can live with,” as graphically noted by Sava Popović. It was one of the reasons why Pavle Beljanski decided to add sculptures to his collection only after his collection of paintings had been housed in the exhibition area of the Town Museum in Sombor. Stojanović’s statues gained their natural surroundings among the creations of the “Paris School”, to which they conceptually belong.

Sreten Stojanović