Uroš Predić (Serbian Cyrillic: Урош Предић, pronounced [ûrɔʃ prɛ̌ːdit͡ɕ]; Orlovat, 7 December 1857 – Belgrade, 12 February 1953) was a Serbian Realist painter. Along with Paja Jovanović and Đorđe Krstić, he is considered the most important Serbian painter of realism. Predić is best remembered for his early works, in which he depicted the "real" life of ordinary people. Later, he made a great contribution in church painting and portraits. Predić's opus includes a total of 1658 works.
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👉 Uroš Predić in the context of Western art
The art of Europe, also known as Western art, encompasses the history of visual art in Europe. European prehistoric art started as mobile Upper Paleolithic rock and cave painting and petroglyph art and was characteristic of the period between the Paleolithic and the Iron Age. Written histories of European art often begin with the Aegean civilizations, dating from the 3rd millennium BC. However a consistent pattern of artistic development within Europe becomes clear only with Ancient Greek art, which was adopted and transformed by Rome and, with the Roman Empire, was carried across much of Europe, North Africa and Western Asia.
The influence of the art of the Classical period waxed and waned throughout the next two thousand years, seeming to slip into a distant memory in parts of the Medieval period, to re-emerge in the Renaissance, suffer a period of what some early art historians viewed as "decay" during the Baroque period, to reappear in a refined form in Neo-Classicism and to be reborn in Post-Modernism.
In this Dossier
Uroš Predić in the context of Western art history
The art of Europe, also known as Western art, encompasses the history of visual art in Europe. European prehistoric art started as mobile Upper Paleolithic rock and cave painting and petroglyph art and was characteristic of the period between the Paleolithic and the Iron Age. Written histories of European art often begin with the Aegean civilizations, dating from the 3rd millennium BC. However a consistent pattern of artistic development within Europe becomes clear only with Ancient Greek art, which was adopted and transformed by Rome and carried; with the Roman Empire, across much of Europe, North Africa and Western Asia.
The influence of the art of the Classical period waxed and waned throughout the next two thousand years, seeming to slip into a distant memory in parts of the Medieval period, to re-emerge in the Renaissance, suffer a period of what some early art historians viewed as "decay" during the Baroque period, to reappear in a refined form in Neo-Classicism and to be reborn in Post-Modernism.
Uroš Predić in the context of Kosovo Maiden
The Kosovo Maiden or Maiden of the Blackbird's Field (Serbian: Косовка девојка / Kosovka devojka) is the central figure of a poem with the same name, part of the Kosovo cycle in the Serbian epic poetry. In it, a young beauty searches the battlefield for her betrothed fiancé and helps wounded Serbian warriors with water, wine and bread after the Battle of Kosovo in 1389 between Serbia and the Ottoman Empire. She finally finds the wounded and dying warrior Pavle Orlović who tells her that her fiancé Milan Toplica and his blood-brothers Miloš Obilić and Ivan Kosančić are dead. Before the battle they had given her a cloak, golden ring and veil for the wedding as a promise of safe return, but they were slain and Pavle pointed to the direction of the bodies. The poem finishes with:
The poem became very popular as a symbol of womanly compassion and charity.
Uroš Predić in the context of Đorđe Krstić
Đorđe Krstić also Djordje Krstić (Serbian Cyrillic: Ђорђе Крстић, pronounced [d͡ʑɔ̂ːrd͡ʑɛ kř̩ːstit͡ɕ]; 19 April 1851 – 30 October 1907) was a Serbian realist painter and academic. He is often ranked alongside his contemporaries, Paja Jovanović and Uroš Predić.
Uroš Predić in the context of Dodola and Perperuna
Dodola (also spelled Dodole, Dodoli, Dudola, Dudula etc.) and Perperuna (also spelled Peperuda, Preperuda, Preperuša, Prporuša, Papaluga etc.) are rainmaking pagan customs widespread among different peoples in Southeast Europe until the 20th century, found in Albania, Bulgaria, Croatia, Greece, Hungary, Kosovo, Moldova, Montenegro, North Macedonia, Romania, and Serbia. It is still practiced in remote Albanian ethnographic regions, but only in rare events, when the summer is dry and without atmospheric precipitation.
The ceremonial ritual is an analogical-imitative magic rite that consists of singing and dancing done by young girls or boys in processions following a main performer who is dressed with fresh branches, leaves and herbs, with the purpose of invoking rain, usually practiced in times of droughts, especially in the summer season, when drought endangers crops and pastures, even human life itself.