Artworks in the Collection

Stone Thrower (1936)

With this piece more than any other, Sreten Stojanović returned to the beginning of his own creative work at the time when he attended the Académie de la Grande Chaumière. At that time, Montparnasse, as Lazar Trifunović vividly described it, “looked like a modernday Babylon. It was a large international hippie brotherhood which migrated from café to café, from studio to studio, helped and supported one another, loved and respected one another in their own way. The shadow of war hung over this “lost generation” – one needed to live, enjoy oneself, tear down the old world and find one’s own little place under the sun.” In this sculpture, Sreten Stojanović showed an almost surprising interest in the body in motion, which testified to the power of the impression left on him by the work of his teacher, Émile Antoine Bourdelle. Like Bourdelle’s Hercules the Archer or The Sculptress at Work, Stojanović’s Stone Thrower was also depicted at the peak of physical activity, just before throwing the stone. There is a tendency, characteristic of both sculptores, for the figures sculpted in motion to encompass the outside space, not only with their hands and outstretched arms, but also with the imaginary trajectory of the stone which is still in the thrower’s hand. The source of inspiration in Bourdelle’s plastic art is also indicated by the model from classical antiquity: the theme of an athlete in action. On the other hand, Stojanović embraced the ideology of the return to beauty, intimacy and hedonism, present in the sculpture of the 1930s. With the accentuated, impressionized, almost “fuzzy” material structure which emphasizes the sensual element, he showed that he accepted Herder’s concept of sculpture as art meant for the sense of touch.

Sreten Stojanović