Nadežda Petrović

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Self-portrait , 1907

Nadežda Petrović ( Cyrillic : Надежда Петровић; born October 12, 1873 in Čačak ; † April 3, 1915 in Valjevo ) was a Serbian painter. Her works can be assigned to Expressionism and Fauvism and some of them already contain references to abstract art . It is shown on the 200 dinar note from Serbia.

Life

Artistic beginnings 1892–1897

In 1884 her family moved from Čačak to Belgrade , where Nadežda graduated from a secondary school for women in 1891. From 1892 to 1897 she took private drawing lessons from the Serbian realist Djordje Krstiċ .

Studied in Germany 1898–1903

In 1898 she began studying art in Munich . A photo shows her in the studio of the Slovenian Anton Ažbe with her colleagues Igor Grabar , Alexej Jawlensky , Nikolaj Seddeler , Matej Sternen and other Ažbe students. Among them, she most consistently represented the Ažbe style. Petrović, who spoke the Russian language, had a soft spot for everything Russian. She also visited the salon of Marianne von Werefkin , where many Russian artists frequented. What struck her as a special feature of their painting, she wrote home: “The Russians here work coloristically.” The latter observation may have been one of the reasons that the painter moved from Ažbe in Munich to Feldwies am Chiemsee in 1901 to see the “Prince of Color” Julius Exter switched. With the comment “Flowers of the meadow” he portrayed Petrović together with another “Malweiblein” in a caricature in 1902. During their joint work with Exter from 1901–1903, Petrović's painting became more colorful, but she kept the Ažbe style “with bold, expansive” Zügen ”to work faithfully until her death in 1915 and varied it variously in glazed and pastose painting styles. From Munich she made trips to Berlin, Rome, Venice and Vienna.

In Serbia 1903–1910

"After her return to Belgrade in 1903, she traveled to Macedonia to bring help to the population affected by the Turkish pogroms ." In 1904, Petrović was involved in organizing the first Yugoslav art exhibition and founded the first Yugoslav artist colony in the Serbian village of Siċevo on the Nišava . There she painted landscapes with young Yugoslav artists, mostly with Ažbe students. They showed the results in 1907 at an exhibition at the colony. In Serbia, Petrović stood out for her political commitment, especially during the annexation of Bosnia and Herzegovina , by giving patriotic speeches at political meetings.

Paris 1910-1912

From 1910 she stayed in Paris and exhibited in the Paris Autumn Salon . In 1910 she also took part in an international exhibition in Rome at the Serbian pavilion. She also exhibited again in Paris at the Salon d'Automne . "The Paris period embodies her mature creative period with works by an independent colorist". In 1912 she took part in the fourth Yugoslav art exhibition and opened her own master's studio. The studio only existed for a short time.

In the Balkan Wars and in the First World War 1912–1915

During the Balkan Wars and World War I, she volunteered at the front as a nurse from 1912 to 1915 . Between two battles, Petrović painted landscapes, soldiers and peasants. While caring for the wounded, she contracted typhus infection and died on April 3, 1915 in the hospital in Valjevo .

Exhibitions

Group exhibitions

1900 in the Munich Art Association

Solo exhibitions

1900 Belgrade 1910 Ljubljana , Jakopić pavilion

literature

Katarina Abramović, Nadezda Petrović (1873–1915), Neue Pinakothek, Munich 1985

Individual evidence

  1. ↑ Katarina Ambrozic, The Artist Anton Ažbe (1862–1905), in exh. Cat .: Paths to Modernism and the Ažbe School in Munich, Museum Wiesbaden 1988, p. 150
  2. ↑ Bernd Fäthke, Jawlensky and his companions in a new light, Munich 2004, Fig. 24, p. 39
  3. ↑ Elmar D. Schmid, Julius Exter, Life and Work, in exh. Cat .: Julius Exter, Departure into Modernism, Neue Galerie der Bayerische Landesbank, Munich 1998, p. 35
  4. ↑ Rudolf H. Wackernagel, "I will trick people ... in oil and tempera ...". News on Kandinsky's painting technique, With a contribution by Johann Koller and Ursula Baumer (V), Journal for Art Technology and Conservation, vol. 11/1997, issue 1, p. 112
  5. ↑ Elmar D. Schmid, Julius Exter, Life and Work, in exh. Cat .: Julius Exter, Aufbruch in die Moderne, Neue Galerie der Bayerische Landesbank, Munich 1998, ill. P. 28
  6. ↑ Monika Kretzmer-Diepold, The artist's seat on the Chiemsee, Professor Julius Exter in Übersee-Feldwies, in exh. Cat .: Julius Exter, Aufbruch in die Moderne, Neue Galerie der Bayerische Landesbank, Munich 1998, p. 54
  7. ↑ Katarina Ambrozic, The Artist Anton Ažbe (1862–1905), in exh. Cat .: Paths to Modernism and the Ažbe School in Munich, Museum Wiesbaden 1988, p. 67
  8. ↑ Bernd Fäthke, Jawlensky and his companions in a new light, Munich 2004, Fig. 24, p. 64 f
  9. ↑ Katarina Ambrozic, Nadezda Petrovic 1873-1915, exh. Cat .: Bayerische Staatsgemäldesammlungen in the Neue Pinakothek, Munich 1985, p. 150
  10. ↑ Katarina Ambrozic, The Artist Anton Ažbe (1862–1905), in exh. Cat .: Paths to Modernism and the Ažbe School in Munich, Museum Wiesbaden 1988, p. 150
  11. ↑ Katarina Ambrozic, The Artist Anton Ažbe (1862–1905), in exh. Cat .: Paths to Modernism and the Ažbe School in Munich, Museum Wiesbaden 1988, p. 150
  12. ↑ Katarina Ambrozic, The Artist Anton Ažbe (1862–1905), in exh. Cat .: Paths to Modernism and the Ažbe School in Munich, Museum Wiesbaden 1988, p. 150

Web links

Commons : Nadežda Petrović  - collection of pictures, videos and audio files
personal data
SURNAME Petrović, Nadežda
BRIEF DESCRIPTION Serbian painter
DATE OF BIRTH October 12, 1873
PLACE OF BIRTH Čačak , Serbia
DATE OF DEATH April 3, 1915
Place of death Valjevo , Serbia