Category: Discover-Archive

Krsto Hegedušić, Champion, 1964

Krsto Hegedušić
Champion, 1964
tempera, oil on canvas
130 x 120 cm
MG-2539

Krsto Hegedušić (1901 – 1975) studied in Zagreb and Paris. He co-founded the group "Zemlja" and taught at the Academy of Fine Arts in Zagreb, where he led the Master's Workshop from the 1950s. His oeuvre includes socially critical drawings and paintings that often contain elements of sarcasm, grotesqueness, and irony.
"Champion" is a work that depicts a bowler in a naive, caricature style, with a touch of social criticism and irony. The figure is stocky, with a fashion-conscious appearance typical of the socialist period, wearing a T-shirt with the DTR logo, characteristic of that era.
Hegedušić's "Champion" breaks down stereotypes about masculinity and sports excellence and reveals sports' social and cultural aspects, suggesting that everyone can be a champion in their community, regardless of physical appearance and athletic abilities. The bowler is depicted with a vast body and a simple, almost childlike expressiveness, which gives a dose of humor and mild irony. The athlete's non-idealized, "ordinary" figure is shown, which differs from the typical heroic and athletically built figures often found in sports paintings.

Text: Marta radman, curator at the National Museum of Modern Art © National Museum of Modern Art, Zagreb
Photo: Goran Vranić © National Museum of Modern Art, Zagreb

Aleksandar Srnec, Composition T-24, 1959

Aleksandar Srnec
Composition T-24, 1959
oil on canvas
91 x 88 cm
MG-2576

Composition T-24 by Aleksandar Srnec is an example of radicalized geometric abstraction, characteristic of the avant-garde art group EXAT 51, of which he was a member. The work is based on a dynamic arrangement of simple geometric forms—squares, rectangles, and lines—that float on a light surface, creating a balanced yet rhythmically engaging visual impression. The contrasting use of primary colors (red, blue, yellow) alongside black elements enhances the dynamism of the composition and reflects influences of Constructivism and Suprematism. A centrally placed, diagonally oriented square acts as a stabilizing element within the composition, while the surrounding forms are arranged to suggest movement and spatial tension. Here, Srnec explores the relationships between surface, color, and balance, employing minimalist expressive means to achieve a pure abstract harmony.
He built his artistic expression through radicalized geometric abstraction, experimenting with kinetic sculptures and lumino-kinetic explorations. As early as the 1950s, he constructed his first mobile kinetuc objects of free composition, and from 1962, he intensively worked with light effects in art, developing a series of luminoplastic works and experimenting with pure light. From 1968 onward, he focused on creating kinetic sculptures in highly polished metals and designing environmental installations. He was briefly engaged in animated film, but his primary contribution remained tied to innovative forms of abstract and kinetic art. For his artistic achievements, he received the Vladimir Nazor Lifetime Achievement Award in 1999.
Aleksandar Srnec attended the Academy of Fine Arts in Zagreb from 1943 to 1949, where he acquired his foundational artistic education. He was one of the founders of the EXAT 51 group, which advocated for the synthesis of art and architecture and the affirmation of geometric abstraction.

Text: Lorena Šimić, curator at the National Museum of Modern Art © National Museum of Modern Art, Zagreb
Photo: Goran Vranić © National Museum of Modern Art, Zagreb

Vladimir Udatny, Sketch for a Motif from Draga, 1952

Vladimir Udatny
Sketch for a Motif from Draga, 1952
oil on paper
26.5 x 40 cm
MG-2329

Vladimir Udatny (Voćin, 1920 – Rijeka, 1972) was a prominent Croatian painter of the second half of the 20th century. He studied painting at the Academy of Fine Arts in Zagreb, refining his skills under the mentorship of Marino Tartaglia (Zagreb, 1894 – 1984) and Tomislav Krizman (Orlovac near Karlovac, 1882 – Zagreb, 1955). In 1952, he moved to Rijeka, where he made his permanent home and continued his artistic career. In the early 1960s, he published the print portfolios Twelve Harlequins and Motifs from Rijeka. In the early phase of his career, his work was influenced by post-impressionism, with elements of abstraction, while his later works were characterised by surrealist and metaphysical themes. Apart from painting, he also engaged in graphic and stage design, regularly writing art critiques and travel pieces for newspapers and specialised journals.
At his first solo exhibition in Rijeka in 1952, the Rijeka painter Jakov Smokvina (Rijeka, 1903 – Volosko, 1987) noted Udatny’s particular focus on painting motifs from Draga, near Rijeka. Udatny often stated that it was with these subjects that he refined his painting techniques, striving to create a “portrait of the landscape.” He rendered his landscapes using a plein-air technique, with each work conveying a distinct emotional experience. The painting Sketch for a Motif from Draga is dominated by earthy tones, with warm green accents in the foreground contrasting with the cooler blue hues in the background. In addition to landscapes featuring scenes from Rijeka, Gorski Kotar, and Istria, as well as various views of Rovinj, Plomin, Rijeka, Split, and Venice from his travels, he also painted portraits and still lifes.

Text: Luciana Fuks, trainee curator at the National Museum of Modern Art © National Museum of Modern Art, Zagreb
Photo: Goran Vranić © National Museum of Modern Art, Zagreb

Vladimir Becić, Klasija, 1911

Vladimir Becić
Klasija, 1911
oil on canvas, 55.5 x 68 cm
MG-2270

Vladimir Becić (1886–1954) attended the private painting school of Menci Clement Crnčić and Bela Čikoš Sesija in Zagreb. Like Miroslav Kraljević, he abandoned his law studies and moved to Munich in 1905 to focus on painting. There, he joined Hugo von Habermann’s painting class, where he studied alongside Račić, Kraljević, and Herman between 1905 and 1910, becoming part of the Munich Circle. In 1909, he relocated to Paris and enrolled at the Académie de la Grande Chaumière. Over the course of his long life, he lived in various places, including Zagreb, Osijek, Belgrade, Bitola, and Blažuj near Sarajevo, where he built his studio. During World War I, he served as a correspondent and war artist for L’Illustration magazine on the Salonika front. Becić’s artistic style spanned a range of influences, from Munich realism, Expressionism, and Cézannism to magical realism and colouristic realism.
In this work, Becić uses expressive, bold, and visible brushstrokes to depict a forest scene with green treetops, grass, black trunks, and shadows. Sunlight filters through the canopy in the right triangle of the composition (above the diagonal from the top left to the bottom right corner), serving as the central focal point of the painting. The brushwork is intentionally energetic, thick, and highly visible, emphasising the Expressionist nature of the depiction.

Text: Ivana Rončević Elezović Phd., museum advisor of the National Museum of Modern Art © National Museum of Modern Art, Zagreb
Zagreb
Translated by: Robertina Tomić
Photo: Goran Vranić © National Museum of Modern Art, Zagreb

Ivan Zasche, Portrait of Julijana Koritić de Mrazovečka, 1853

Ivan Zasche
Portrait of Julijana Koritić de Mrazovečka, 1853
watercolour on paper
41.5 x 31 cm
MG-66

Ivan Zasche (Jablonec, Czech Republic, 1825 – Zagreb, 1863) was among the first and most prominent academically trained painters. He studied at the Academy of Fine Arts in Vienna, where he trained under Professors Ferdinand Georg Waldmüller (Vienna, 1793 – Hinterbrühl, 1865) and Thomas Ender (Vienna, 1793 – 1875), who also influenced his artistic style. His professional career began in the early 1850s when he moved to Zagreb at the invitation of Archbishop Juraj Haulik (Trnava, Slovakia, 1788 – Zagreb, 1869). For Haulik, he created a lithographic album titled “Park Jurjaves,” the first recorded series of vedutas from the region, executed in the tradition of the Vienna academic school. Zasche remained active in Zagreb until his death, gaining prominence for his portraits, watercolours, and miniatures. He also created altarpieces, landscapes, and scenes from rural life.
One of the most important pieces in Zasche’s body of work is the “Portrait of Julijana Koritić de Mrazovečka,” which embodies the typical style of the 19th century and the Vienna painting tradition. The portrait shows a middle-aged woman seated in an opulent pink chair. She wears an elegant black dress with lace details, her hair neatly arranged and adorned with a dark ribbon. The refined golden jewellery on her hands, a black necklace with a pendant, and her graceful posture and serene expression all reflect her high social standing. The softly shaded background enhances the woman’s figure, and the realistic approach to her face shows a clear influence of the Vienna Biedermeier style. This portrait is also one of the earliest works from Zasche’s Zagreb period.

Text: Luciana Fuks, trainee curator at the National Museum of Modern Art © National Museum of Modern Art, Zagreb
Translated by: Robertina Tomić
Photo: Goran Vranić © National Museum of Modern Art, Zagreb

Šime Vulas, Slanting Sails, 1967

Šime Vulas
(1932-2018)
Slanting Sails, 1967
carving, wood
87 x 54 x 22 cm
MG-4046

Šime Vulas graduated in 1958 from the Academy of Fine Arts in Zagreb, in the class of sculptor Vanja Radauš, under whose mentorship he later refined his skills in the Master Workshop, developing vertical, abstract compositions imbued with lyrical harmony and a refined sense of materiality.
In his early period, he shaped his sculptural expression in wood, exploring the rhythm of surfaces and the internal dynamics of volume, while later synthesizing abstract forms into monumental compositions, regardless of their scale. Although entirely non-figurative, his work reflects a deep connection to the Dalmatian tradition, where mass and form are balanced in a tense spatial relationship. From 1975, in a series of biblical sculptures, he employed dramatic contrasts of mass, light, and shadow, often further emphasizing them with color.
The sculpture Slanting Sails is created using the principle of modular repetition of forms, generating dynamic vertical structures imbued with rhythm and spatial tension. Slanting Sails arranges a sequence of angular forms resembling sails, achieving a sense of movement and balance. The sculpture is executed in wood, where the emphasized cuts and texture of the material further enhance the raw energy and internal strength of the volume.

Text: Lorena Šimić, curator at the National Museum of Modern Art © National Museum of Modern Art, Zagreb
Photo: Goran Vranić © National Museum of Modern Art, Zagreb

Zvonimir Lončarić Liza, 1970.

Zvonimir Lončarić
Liza, 1970.
poliester / paint
90 x 52 x 22.5 cm
MG-3927
Zvonimir Lončarić (1927–2004) was a prominent Croatian sculptor, graphic artist, and theater and film set designer. He graduated from the Academy of Applied Arts in Zagreb in 1956, where he studied under professors Kosta Angeli Radovani and Edo Murtić. From 1958, he worked for Zagreb Film as an animator and set designer, and he is the author of four films. His animated productions reflect his sculptural expression, characterized by unconventional, simple, elemental forms with pronounced volume and color. Lončarić's oeuvre includes an impressive collection of graphics, ceramics, theatrical set designs, and imaginative series of children's toys.
His sculptural work is marked by figural sculptures, most often made of wood and polyester, painted in vibrant colors. His works frequently feature elements of the fantastic and surreal, infused with a specific humor that is evident in his whimsical sculptures in public spaces.
"Liza" is a representative example of Lončarić's unique artistic style. The standing female figure, with its emphasized and oversized forms, belongs to a gallery of colorful, simplified doll-like sculptures. The choice of polyester as a material allows for a smooth, bright finish that is crucial for the visual appeal of the work. The figure is characterized by a bold use of colors and shapes, highlighting Lončarić's ability to blend the fantastic with the ordinary, creating a surreal yet approachable piece. The sculpture is marked by a robust, voluminous body and bright, contrasting colors. The oversized and simplified form of the figure evokes a sense of playfulness, which are recognizable features of Lončarić's work. Despite its simplicity, the sculpture exudes a strong presence, captivating viewers with its powerful visual impact.
Text: Marta radman, curator at the National Museum of Modern Art © National Museum of Modern Art, Zagreb
Photo: Goran Vranić © National Museum of Modern Art, Zagreb / photo taken at the Otherness exhibition set up presented at the Križevci City Museum

Ivo Friščić, Pure Travel, 1982.

Ivo Friščić
Pure Travel, 1982.
oil on canvas
141,5 x 191 cm
MG-3011

Ivo Friščić was a distinguished painter and graphic artist. He graduated from the Academy of Fine Arts in Zagreb in 1965 and later refined his skills under the mentorship of painters and graphic artists Marijan Detoni and Albert Kinert. From 1968 to 1972, he was an associate at painters Krsto Hegedušić’s Master Workshop, while also working as an art editor. In 1985, he became a professor at the Academy of Fine Arts in Zagreb. He exhibited extensively in Croatia and abroad, including at the Venice Biennale and the Mediterranean Biennale in Alexandria, where he won first prize for painting. He was also the recipient of the prestigious Vjesnik Josip Račić Award, along with multiple awards at the Zagreb Salon and international graphic exhibitions.
His artistic work spans Surrealism, Fauvism, non-figurative painting, and Hyperrealism. In his early works, he explored metaphysical themes, while in the 1970s, he focused on Hyperrealistic urban scenes, often commenting on the chaos of city spaces. By the mid-1970s, he turned to ecological themes, merging industrial motifs with abstraction, while later exploring harmony between humans and nature through depictions of flowers and vegetation. Through his graphic portfolios and drawings, he expressed psychological and emotional layers of human existence, using complex textures and symbolism.
In painting Pure Travel, geometric shapes and fragmented perspective create a sense of space viewed from multiple angles at once, while soft pastel colors and precise lines evoke architectural blueprints and futuristic landscapes, exploring the relationship between space, technology, and perception.

Text: Lorena Šimić, curator at the National Museum of Modern Art © National Museum of Modern Art, Zagreb
Photo: Goran Vranić © National Museum of Modern Art, Zagreb

Mihael Stroy, Portrait of a Lady in a Red Armchair (Ana Sermage), 1839

Mihael Stroy
Portrait of a Lady in a Red Armchair (Ana Sermage), 1839
oil on canvas
95 x 77 cm
MG-48

Mihael Stroy (Ljubno, 1803 – Ljubljana, 1871) was the most prominent Slovenian painter in the first half of the 19th century and a key figure within the Central European artistic milieu. After completing his studies at the Academy of Fine Arts in Vienna, he visited Zagreb in 1830 during his travels and remained there until 1841. He was active in artistic circles that embraced Neoclassicism, Romanticism, and the Biedermeier style. Stroy primarily painted portraits of public figures and distinguished citizens, capturing the era’s lifestyle and aesthetics, alongside religious and genre scenes. His body of work is particularly noted for his portraits of women, in which he demonstrated exceptional psychological insight. These portraits are characterised by their elegance and are often set in romantic surroundings that enhance their sophistication.
The 1839 painting Portrait of a Lady in a Red Armchair (Ana Sermage) reflects the tradition of representative portraits, showing women at the height of contemporary fashion and elegance. It depicts a middle-aged woman seated in a red armchair, her gaze fixed directly at the observer. She is dressed in a black, low-cut gown, with her hair styled in long curls adorned with a delicate scarf. A cashmere shawl in shades of blue and red is gracefully draped around her waist and across her lap. Her relaxed posture, along with her white gloves and an abundance of jewellery, draws particular attention. The striking use of colour contrasts and the refined characterisation of the subject establish this portrait as one of the finest works from the Slovenian artist’s Zagreb period.

Text: Luciana Fuks, trainee curator at the National Museum of Modern Art © National Museum of Modern Art, Zagreb
Translated by Robertina Tomić
Photo: Goran Vranić © National Museum of Modern Art, Zagreb

Oton Postružnik, Open Seashell, 1977

Oton Postružnik
Open Seashell, 1977
oil on canvas
65.3 x 81 cm
MG-6977

Oton Postružnik (Maribor, 1900 – Zagreb, 1978) was a leading figure in Croatian modern art. He studied at the Academy of Fine Arts in Zagreb and continued his education in Prague and Paris. He began his artistic career as a member of the “Earth” Association of Artists, known for its socially engaged art, and later became a key proponent of lyrical abstraction in post-war Croatia. After 1960, Postružnik produced his first non-figurative works, characterised by a colour-focused approach. His art from this period reveals a strong connection to nature, evident in the organic forms and his sensitivity to colour. This later phase, which includes the painting Open Seashell, presents a more subtle and introspective abstraction inspired by the natural world.
The work is shaped to evoke the organic world, with forms resembling bubbles or seashell fragments. It falls within the style of organic abstraction, featuring fluid, amorphous shapes and smooth colour transitions. Pastel greens, blues, and reds dominate the composition. The abstract, lyrical atmosphere is further enhanced by an intuitive interpretation of natural forms.
Postružnik left an indelible mark in Croatian art through his innovative use of form and colour. As a long-standing professor at the Academy of Fine Arts in Zagreb, he guided and influenced numerous generations of young artists.

Luciana Fuks, trainee curator at the National Museum of Modern Art © National Museum of Modern Art, Zagreb
Translated by Robertina Tomić
Photo: Goran Vranić © National Museum of Modern Art, Zagreb