Gallery of the Museum of Naive and Marginal Art - sculptures and drawings

Black Panther, Dragiša Stanisavljević (1921-2012), 1975. The number of sculptures in international collection at MNMA clearly spreads the glory of sculptures done by self-taught visionaries, the artists of naïve and marginal art as significant, non-conventional domain.

Landing, Ferenc Kalmar (1928-2013), 2009. A stylised three-dimensional form; a zoomorphic motif done in the original form of wood; by colouring certain surfaces a look of a bird is achieved, hence pronounced expressiveness. Colours: yellow, orange, blue and pastel green. 

Gate,  Bogosav Živković (1920-2005), 1964. A dark brown sculpture done in technique of woodcut (hem-stich), rectangular in shape, arched in the middle parallel to the low border. A stylised figural composition. 

Mountain Wedding, Dragutin Aleksić (1947-2011), 1968. The sculpture is done in trunk and tinted in black; the whole surface is processed. It is a figural presentation with anthropomorphic and zoomorphic motifs, among which upper-body long haired female figures.

Cooperation, Dragiša Stanisavljević (1921-2012), 1979. A dark brown sculpture, composed vertically and processed both-sided. A stylised figural composition with anthropologic and zoomorphic motifs – combined figures of an animal and a man. 

No Name (Queen), Nek Chand (1924-2015), 2015. A standing female figure in a dress and cap made of broken Indian bracelets combined with concrete, and arms separated from the body (bent in arc), turned en face and suggestively looking. Face and limbs are reddish, like terracotta.

Dancing Man,  Katsumi Tsuji, 2018. A stylised three-dimensional form produced by combining wood and textile, and coloured afterwards. The elongated figural form with differentiated head, body and limbs in pronounced movement. 

Bat,  Saša Petrović-Berdujac, 2008. A stylised, anthropic-zoomorphic presentation in wood; a standing figure with differentiated head, partly processed face and massive round body and upper limbs in the form of wings in pronounced movement. 

Petrified Messages, Ilija Filipović, 1992. Heads of people, animals, birds, body parts and arms are cut in stone, in lower or deep relief and miraculous intertwining. Particular elements of the presentation are given more plastically and massively. 

Bird,  Milan Stanisavljević, 1996. A stylised zoomorphic presentation in wood – the form of a bird with huge, folded wings, differentiated head and limbs. In raw treatment the effect of incompleteness of form is achieved. 

Fetishes and Clouds, Marc Bourlier, 2016. A stylised composition in the form of relief with elements of geometry; three-dimensional figural form is given within rectangular and square surfaces like specific niches, in a simetrical order. 

Big Owl,  Guido Vedovato, 2009. A stylised, three-dimensional form; zoomorphic motif chiselled in wood, whereby additional colouring of surfaces (eyes, beak, body, wings) results in final look of a bird, thus leading to pronounced expressiveness. 

The Outraged,  Ivana Stanisavljević Negić, 2017. A stylised, three-dimensional form; a zoomorphic motif is done in the original form of wood – by colouring particular surfaces (eyes and jaws) the look of a wild animal is achieved and thus additionally pronounced expressiveness.

The album of drawings of self-taught visionaries in the MNMA collection is the authentic treasure of specific imprints of creative ideas, done as a result of obsessive recording of intimate, seemingly coded, subjective messages.

Dream,  Vojislav Jakić (1932-2003), 1997. A stylised figural presentation; multiplied standing male figures given en face, with similar facial physiognomies, hair styles and clothes. In the lower part of the painting, animal and anthropic-zoomorphic motifs are given in profile.

The Victory of Good over Evil,  Slobodan Živanović, 2017. A stylised figural composition with predominant zoomorphic motifs; bird profiles are noticed with stretched wings and eyes. The drawing is done in black felt pen, whereby some surfaces are coloured. 

Who Prevents Us from Swallowing Three Kilograms of Happiness?,  Joškin Šiljan, 2016. A stylised composition done as multitude of irregular shapes connected with a predominant black contour line in the central part of the painting and numerous red surrounding graphemes. 

No Name,  Mehrdad Rashidi, 2014. A stylised form in the shape of female figure with wings, where the head of a woman with calm physiognomy and feet turned to the left are clearly visible. The body consists of multitude of images given in profile, half profile and en face. 

The Tin Cathedral,  Nick Blinko, 2018. A stylised figural presentation given in authentic exterior; topographic scheme. The composition is done in black pencil with black and white surfaces. At the right-hand bottom is an architectural form with the inscription.

#209, Daniel Gonçalves, 2018. A stylised composition treated ornamentally and decoratively; the abstract presentation is based on symmetrical distribution of geometrical elements: circles, triangles, squares, curved and straight lines.

And the Core of Universe (Et Cor Universum), Margot, 2017. A stylised presentation of ornamental-decorative treatment, composed vertically, done in multitude of curved lines, dots, circles, whereby certain surfaces are shaded and coloured in coral and yellowish ochre tints.

Magic,  Ljubiša Jovanović-Kene, 2006. A stylised figural presentation; anthropic-zoomorphic, hybrid motifs in the form of animals, birds and insects with human physical characteristics, emerging from mouths of others.  

Flower Children, Dragan Milivojević, 2018. A stylised figural presentation, given like an emblem. In the middle is an abstracted anthropomorphic figure with wings, formed from fragmented autochthonous forms. 

Hunting,  Alexander P Lobanov (1924-2003). In the central circle a series of shotguns are presented around a central dot on the red background; above and under the circle are floral applications with the motif of a bird, placed in four angles of a square.

Embryo,  Evelyne Postic, 2014. A stylised figural presentation of ornamental-decorative treatment – a female portrait given en face with differentiated face, hairstyle and body that ends in the middle with a smaller egg-like figure - embyo.