{"id":30159,"date":"2021-11-16T08:18:24","date_gmt":"2021-11-16T07:18:24","guid":{"rendered":"https:\/\/www.maticasrpska.org.rs\/?page_id=30159"},"modified":"2022-01-23T12:11:03","modified_gmt":"2022-01-23T11:11:03","slug":"zmslu_49","status":"publish","type":"page","link":"https:\/\/www.maticasrpska.org.rs\/en\/zmslu_49\/","title":{"rendered":"Matica Srpska Journal of Fine Arts no. 49"},"content":{"rendered":"

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<\/p>\n

C O N T E N T S:<\/h3>\n

ARTICLES, TREATISES, CONTRIBUTIONS<\/b><\/p>\n

BRANKA \u010c. VRANE\u0160EVI\u0106<\/strong>, Visualizaton of the Word: A Contribution to the Study of the Aniconic and Floral Initials of the Gospel Lectionary of Grand Duke Nikola Stanjevi\u0107 <\/em><\/em>\"\"<\/a><\/em>
\nDRAGANA S. PAVLOVI\u0106<\/strong>, Portraits of Nobility in Serbian Medieval Art. A contribution to the study of their iconography <\/em><\/em>\"\"<\/a><\/em>
\nANGELINA R. MILOSAVLJEVI\u0106<\/strong>, \u201cLa Berretta Ducale con Due Orecchie Grandi\u201d. A Note on an Iconographic Detail in the Double Portrait of Duke Federico da Montefeltro and His Son Guidobaldo <\/em><\/em>\"\"<\/a><\/em>
\nALEKSANDRA P. KU\u010cEKOVI\u0106<\/strong>, Ermineia by the Painter Jovan \u010cetirevi\u0107 Grabovan \u2013 Records and Drawings <\/em><\/em>\"\"<\/a><\/em>
\nMILENA G. VRBA\u0160KI<\/strong>, Who is on Nikola Ne\u0161kovi\u0107\u2019s “Self-Portrait” \u2212 Author\u2019s Reidentification, Questions, and some Answers <\/em><\/em>\"\"<\/a><\/em>
\nANA D. KOSTI\u0106<\/strong>, Sacral Architecture and Church Builders in the Principality of Serbia during the First Rule of Prince Milo\u0161 Obrenovi\u0107 (1815-1839) <\/em><\/em>\"\"<\/a><\/em>
\nVUK F. DAUTOVI\u0106<\/strong>, Who was Master \u201c\u0421\u0442\u043ei\u0441\u201d \u2212 About the Goldsmith Nikola Stojisiljevi\u0107 <\/em><\/em>\"\"<\/a><\/em>
\nVANJA V. STOJKOVI\u0106<\/strong>, The Piarist Chapel of Saint Stephen in Zrenjanin \u2013 History and Painting <\/em><\/em>\"\"<\/a><\/em>
\nJOVANA D. MILOVANOVI\u0106<\/strong>, Ceremonial Chamber of Novi Sad City Hall as a Space for the Representation of Rulers \u2013 From Emperor Franz Joseph I and Empress Elisabeth to King Aleksandar and Queen Maria Kara\u0111or\u0111evi\u0107 <\/em><\/em>\"\"<\/a><\/em>
\nGORDANA S. KRSTI\u0106 FAYE<\/strong>, Auction Sale of Serbian Kings Milan and Aleksandar Obrenovi\u0107 Heritage in Paris in 1906 <\/em><\/em>\"\"<\/a><\/em>
\nOGNJEN D. MINI\u0106<\/strong>, Reception of Classical Antiquity: A Case Study of the Music Salon of Villa Stuck in Munich <\/em><\/em>\"\"<\/a><\/em>
\nTADIJA B. STEFANOVI\u0106<\/strong>, Monuments to King Aleksandar I Kara\u0111or\u0111evi\u0107 in Croatian Urban Areas and their Reception in the Interwar Press <\/em><\/em>\"\"<\/a><\/em>
\nMARIYA S. KLYMENKO<\/strong>, Archetypes in Alexander Archipenko\u2019s Art <\/em><\/em>\"\"<\/a><\/em>
\nMANOJLO M. MARAVI\u0106<\/strong>, Media \u0410rt by Tanja Vujinovi\u0107 <\/em><\/em>\"\"<\/a><\/em>
\nSONJA R. JANKOV<\/strong>, Frieze as a Teaching Device \u2013 Contribution of \u017divojin Pavlovi\u0107 to Architecture of Yugoslav Modernism <\/em><\/em>\"\"<\/a><\/em>
\n MILENA B. JOKANOVI\u0106<\/strong>, Museum Building as a Museum Object \u2212 Biography of the 25th May Museum in Belgrade <\/em><\/em>\"\"<\/a><\/em><\/p>\n

REVIEWS<\/b><\/p>\n

\u041c\u0410\u041a\u0421\u0418\u041c\u0418\u041b\u0418\u0408\u0410\u041d \u0413. \u0414\u041e\u0420\u041e\u0421\u041b\u041e\u0412\u0410\u0427\u041a\u0418<\/strong>, \u0418\u0432\u0430\u043d \u0421\u0442\u0435\u0432\u043e\u0432\u0438\u045b, \u201e\u0412\u0438\u0437\u0430\u043d\u0442\u0438\u0458\u0441\u043a\u0430 \u0446\u0440\u043a\u0432\u0430, \u043e\u0431\u0440\u0430\u0437\u043e\u0432\u0430\u045a\u0435 \u0430\u0440\u0445\u0438\u0442\u0435\u043a\u0442\u043e\u043d\u0441\u043a\u0435 \u0441\u043b\u0438\u043a\u0435 \u0441\u0432\u0435\u0442\u043e\u0441\u0442\u0438, \u041f\u0440\u0435\u0438\u0441\u043f\u0438\u0442\u0438\u0432\u0430\u045a\u0430, \u043f\u0440\u043e\u0431\u043b\u0435\u043c\u0430\u0442\u0438\u043a\u0430 \u0438 \u043f\u0435\u0440\u0441\u043f\u0435\u043a\u00ac\u0442\u0438\u0432\u0435 \u043f\u0440\u043e\u0443\u0447\u0430\u0432\u0430\u045a\u0430 \u0432\u0438\u0437\u0430\u043d\u0442\u0438\u0458\u0441\u043a\u0435 \u0441\u0430\u043a\u0440\u0430\u043b\u043d\u0435 \u0430\u0440\u0445\u0438\u0442\u0435\u043a\u0442\u0443\u0440\u0435 \u201d, \u0415\u0432\u043e\u043b\u0443\u0442\u0430, \u0411\u0435\u043e\u0433\u0440\u0430\u0434 2018 <\/em><\/em>\"\"<\/a><\/em>
\n ANA F. \u0160EPAROVI\u0106<\/strong>, Zbirka kao presjek umjetnosti jedne epohe: \u0410\u043d\u0430 \u0420\u0430\u043a\u0438\u045b, \u201e\u0423\u043c\u0435\u0442\u043d\u0438\u0447\u043a\u0430 \u0437\u0431\u0438\u0440\u043a\u0430 \u0420\u0430\u0458\u043a\u0430 \u041c\u0430\u043c\u0443\u0437\u0438\u045b\u0430\u201d, \u0413\u0430\u043b\u0435\u0440\u0438\u0458\u0430 \u043b\u0438\u043a\u043e\u0432\u043d\u0435 \u0443\u043c\u0435\u0442\u043d\u043e\u0441\u0442\u0438 \u041f\u043e\u043a\u043b\u043e\u043d \u0437\u0431\u0438\u0440\u043a\u0430 \u0420\u0430\u0458\u043a\u0430 \u041c\u0430\u043c\u0443\u0437\u0438\u045b\u0430, \u041d\u043e\u0432\u0438 \u0421\u0430\u0434 2019 <\/em><\/em>\"\"<\/a><\/em>
\n \u0421\u0410\u0428\u0410 \u041c. \u0411\u0420\u0410\u0408\u041e\u0412\u0418\u040b<\/strong>, \u0418\u0433\u043e\u0440 \u0411\u043e\u0440\u043e\u0437\u0430\u043d, \u201e\u0423\u043c\u0435\u0442\u043d\u0438\u0447\u043a\u0438 \u043f\u0440\u0435\u043e\u0431\u0440\u0430\u0436\u0430\u0458\u0438 \u0412\u043b\u0430\u0445\u0430 \u0411\u0443\u043a\u043e\u0432\u0446\u0430 \u0443 \u043a\u043e\u043d\u0442\u0435\u043a\u0441\u0442\u0443 \u0435\u0432\u0440\u043e\u043f\u0441\u043a\u043e\u0433 \u0441\u043b\u0438\u043a\u0430\u0440\u0441\u0442\u0432\u0430\u201d, \u0413\u0430\u043b\u0435\u0440\u0438\u0458\u0430 \u0421\u0410\u041d\u0423, \u0411\u0435\u043e\u0433\u0440\u0430\u0434 2020 <\/em><\/em>\"\"<\/a><\/em>
\n \u041d\u0418\u041a\u041e\u041b\u0410 \u041c. \u0418\u0412\u0410\u041d\u041e\u0412\u0418\u040b<\/strong>, \u0414\u0438\u0458\u0430\u043d\u0430 \u041c\u0435\u0442\u043b\u0438\u045b, \u201e\u041e\u043b\u0433\u0430 \u041a\u0435\u0448\u0435\u0459\u0435\u0432\u0438\u045b \u0438 \u041c\u0430\u0440\u043a \u0411\u0430\u0440\u0431\u0435\u0437\u0430. \u0408\u0435\u0434\u043d\u0430 \u0441\u0430\u0441\u0432\u0438\u043c (\u043d\u0435)\u043e\u0431\u0438\u0447\u043d\u0430 \u0441\u0440\u043f\u0441\u043a\u043e-\u0444\u0440\u0430\u043d\u0446\u0443\u0441\u043a\u0430 \u0432\u0435\u0437\u0430\u201d, \u0413\u0430\u043b\u0435\u0440\u0438\u0458\u0430 \u041c\u0430\u0442\u0438\u0446\u0435 \u0441\u0440\u043f\u0441\u043a\u0435, \u041d\u043e\u0432\u0438 \u0421\u0430\u0434 2020 <\/em><\/em>\"\"<\/a><\/em>
\n \u0412\u0415\u0421\u041d\u0410 \u0421. \u0413\u0410\u0408\u0418\u040b<\/strong>, \u041e\u043c\u0430\u0436 \u0431\u0435\u0441\u043a\u0440\u0430\u0458\u043d\u043e\u043c \u043e\u0431\u043d\u0430\u0432\u0459\u0430\u045a\u0443: \u0414\u0430\u043d\u0438\u043b\u043e \u0412\u0443\u043a\u0441\u0430\u043d\u043e\u0432\u0438\u045b, \u0418\u0437\u043b\u043e\u0436\u0431\u0430 \u201e\u041c\u0430\u0442\u0440\u0438\u0446\u0430. \u041c\u043e\u043d\u043e\u043b\u043e\u0433\u0438\u0458\u0430\u201d \u0443 \u0413\u0430\u043b\u0435\u0440\u0438\u0458\u0438 \u041c\u0430\u0442\u0438\u0446\u0435 \u0441\u0440\u043f\u0441\u043a\u0435 (24. \u043e\u043a\u0442\u043e\u0431\u0430\u0440 2020. \u2013 4. \u0430\u043f\u0440\u0438\u043b 2021) <\/em><\/em>\"\"<\/a><\/em>
\n \u0418\u0413\u041e\u0420 \u0411. \u0411\u041e\u0420\u041e\u0417\u0410\u041d<\/strong>, \u0421\u043d\u0435\u0436\u0430\u043d\u0430 \u041c\u0438\u0448\u0438\u045b, \u201e\u0402\u0443\u0440\u0430 \u0408\u0430\u043a\u0448\u0438\u045b. \u0418\u0437\u043c\u0435\u0452\u0443 \u043c\u0438\u0442\u0430 \u0438 \u0441\u0442\u0432\u0430\u0440\u043d\u043e\u0441\u0442\u0438\u201d, \u0413\u0430\u043b\u0435\u0440\u0438\u0458\u0430 \u041c\u0430\u0442\u0438\u0446\u0435 \u0441\u0440\u043f\u0441\u043a\u0435, \u041d\u043e\u0432\u0438 \u0421\u0430\u0434 2020. <\/em><\/em>\"\"<\/a><\/em><\/p>\n

\u0418\u041c\u0415\u041d\u0421\u041a\u0418 \u0420\u0415\u0413\u0418\u0421\u0422\u0410\u0420<\/strong>, \"\"<\/a><\/em>
\n\u0413\u0415\u041e\u0413\u0420\u0410\u0424\u0421\u041a\u0418 \u0420\u0415\u0413\u0418\u0421\u0422\u0410\u0420<\/strong>, \"\"<\/a><\/em>
\nREVIEWERS<\/strong>, \"\"<\/a><\/em>
\nIMPRESSUM<\/strong>, \"\"<\/a><\/em>
\n<\/p>","protected":false},"excerpt":{"rendered":"

C O N T E N T S: ARTICLES, TREATISES, CONTRIBUTIONS BRANKA \u010c. VRANE\u0160EVI\u0106, Visualizaton of the Word: A Contribution to the Study of the Aniconic and Floral Initials of the Gospel Lectionary of Grand Duke Nikola Stanjevi\u0107 DRAGANA S. PAVLOVI\u0106, Portraits of Nobility in Serbian Medieval Art. A contribution to the study of their… Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":6,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"yoast_head":"\n\n\n\n\n\n\n\n\n\n\n\n\t\n