Instytut Historii Sztuki <Posen> [Editor]
Artium Quaestiones — 11.2000

Page: 107
DOI issue: DOI article: DOI Page: Citation link: 
https://digi.ub.uni-heidelberg.de/diglit/artium_quaestiones2000a/0109
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MODERNISM AND TOTALITARIANISM II

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4. Bożidar Raśica, “Composition”, 1952, Museum of Contemporary Art, Zagreb

ralization came later as an effect of a different strategy, stemming pri-
marily from economic calculation and not from the acceptance of artistic
liberty. At that time, i.e. in the early fifties, the Yugoslav authorities,
just as the authorities of all the other Eastern European countries, had
no intention to tolerate “formalism,” hence such artists of EXAT-51 as
Ivan Picelj, Bożidar Raśica, and Alexander Srnec exhibited their works
at the Paris “Salon des Realites Nouvelles” ąuite unofficially, i.e. without
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