Redefinisanje unutar likovnog nasleđa
Redefinitions Within Pictorial Heritage

Summary/Abstract: Heritage of pictorial past in Serbia and former Yugoslavia shows to be a productive field for insight into and analysis of different characteristics of authoritarianism. This is true not only for the period of communist government after the Second World War. The distinctions between ideological and national are set as borderlines indicative for survival, which overcomes the problems of official or state art, on one hand, and avant-garde art, on the other. Based on scarce individual examples, it is possible to define different periods in pictorial art, with clear anthropological insight into the very nature of creation in regional conditions. The paths of artistic biographies (contained in resolved setups of national history of art) and consideration of certain pictorial results impose themselves as a historiographic field were, predominantly on the basis of appearance and characteristics of a work of art, resolution can be offered in an indirect manner. Hence follow the questions of non-belonging, endangerment, and the possibility of an open file on behaviour and prospects of creative freedom in social and political circumstances both in Serbia and in other South-Slav environments, but also the insight into the mediating repressions of cultural policy and the true place of destination, which suppress the true art of opposition and revolt by their, often quasi-alternative positions. Authoritarianism of individuality and clear exclusiveness in the sphere of valuation, taste and designation of a work of pictorial art becomes a topic for archives and columns, which would, by means of correct arguments coupled with legal insights, clarify the positions and circumstances of aesthetic and ideological determination, in the sphere of rule and supremacy.

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