Artworks in the Collection

Živojin LUKIĆ
Kosta Miličević (1913)

The portrait had always been Lukić’s favourite theme from the very beginning of his career as a sculptor. He most probably did Kosta Miličević’s portrait in 1913 upon his return from Moscow. In his house, in 11 Dubljanska Street, he began to meet again with a group of artists, who are, with few exceptions, well-known names of Serbian modernism: Kosta Miličević, Živorad Nastasijević, Kosta Josipović, Ljuba Ivanović, Miloš Golubović, Veljko Stanojević and Pavle Predragović. Universally gifted (Lukić played the violin, guitar and mandolin, Nastasijević played the violin and the flute and Pavle Predragović played the flute and was a violin and mandolin maker), apart from discussing art, they made portraits of one another, for a penny (a prize given by Lukić’s mother). The portrait of Kosta Miličević was most probably done in such an atmosphere: expressive, sketch-like, resembling a three-dimensional croquis, with all the characteristics of direct recording. It was done with the experience of a miniaturist, a superior practitioner of reliable perception: from the profile, with masses in a dynamic rhythm, forcefully facing one another, strengthened with a simple contour and emphasized verticality from the front. Such treatment of form and surface was never again repeated by Lukić. The lessons from the eminent schools he attended came across fertile ground: Miličević’s portrait illustrates the relationship towards form and material inherited from Professor Andreyev, but permeated by Rodin’s principles. If Lukić’s stay in Moscow brought no significant pieces, it created the prerequisite for the Roman period and his works which, together with those by Petar Palavičini and Dušan JovanovićĐukin, make up the foundation of modern sculpture in Serbia.

Živojin Lukić