Artworks in the Collection

Woman with Bananas (1937)

Alongside his constant evolution in sculptural concept and expanding the thematic repertoire in his opus, Sreten Stojanović would often return to the synthetic expression from the beginning of the third decade of the 20th century. As was the case with the Mexican Woman and the Woman with Fruit, the Woman with Bananas retained the characteristics of the new realism of the twenties, whose aim was to transfer into an artistic form the vision of reality parallel with that reality. Or, as Lazar Trifunović, one of the experts on Stojanović’s work, concluded: “Stojanović sets the character of Nature free and therefore his representation is objective, not only in relation to nature, but also with regard to art.” Having created in a short period of time works of different poetics – the bust of Milan Rakić, whose realism possesses the echo of a shimmering Rodinian modelling (1936), the Woman with Bananas with reduced synthetic forms (1937) and the Necklace with classical calmness and simplicity (1937/38) – the artist consistently followed his convictions about the connection between size, proportions and the modelling of form, which he also revealed to us through his gift as a critic and an art theorist. “Just as each material has its own requirements,” wrote Stojanović, “the size of a sculpture has its own rules. Small plastic art and large plastic art are carried out in different ways. There are types of inspiration that are confined to the boundaries of small plastic art and vice versa. For portrait, for example, there are several formats […] and the same applies to the figure. The idea that could be carried out in any format and still be completely successful is rare.” For that reason, Stojanović’s figures as works of art in their own right, and not sketches for some future large-scale sculptures, exist in the scale and form which suits that scale completely, creating a special, lyrical whole within his prolific and varied sculptor’s opus.

Sreten Stojanović