The painting belongs to the Munich period of Nadežda's painting and is considered to be a painting by which Serbian painting definitely went beyond the academic framework. This unusual coloristic portrait, of exceptional expressive power, shows a different path in relation to the then ruling academic-realistic attitudes in Serbian painting. Not understanding Nadežda's openness to modern trends and striving to break the strict scheme of realistic painting, for the pasty texture and unusual color, Serbian traditionalist art critics did not understand this portrait exhibited at the Great School, at Nadežda's first solo exhibition in Belgrade in 1900.
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