1.0Muzej Jugoslavijehttps://muzej-jugoslavije.org/en/Dušan Jevtichttps://muzej-jugoslavije.org/en/author/dusan-jevtic/rich600338<blockquote class="wp-embedded-content" data-secret="bpfDg8POu6"><a href="https://muzej-jugoslavije.org/en/art/predeo-ii/">Landscape II</a></blockquote><iframe sandbox="allow-scripts" security="restricted" src="https://muzej-jugoslavije.org/en/art/predeo-ii/embed/#?secret=bpfDg8POu6" width="600" height="338" title="“Landscape II” — Muzej Jugoslavije" data-secret="bpfDg8POu6" frameborder="0" marginwidth="0" marginheight="0" scrolling="no" class="wp-embedded-content"></iframe><script type="text/javascript"> /* <![CDATA[ */ /*! This file is auto-generated */ !function(d,l){"use strict";l.querySelector&&d.addEventListener&&"undefined"!=typeof URL&&(d.wp=d.wp||{},d.wp.receiveEmbedMessage||(d.wp.receiveEmbedMessage=function(e){var t=e.data;if((t||t.secret||t.message||t.value)&&!/[^a-zA-Z0-9]/.test(t.secret)){for(var s,r,n,a=l.querySelectorAll('iframe[data-secret="'+t.secret+'"]'),o=l.querySelectorAll('blockquote[data-secret="'+t.secret+'"]'),c=new RegExp("^https?:$","i"),i=0;i<o.length;i++)o[i].style.display="none";for(i=0;i<a.length;i++)s=a[i],e.source===s.contentWindow&&(s.removeAttribute("style"),"height"===t.message?(1e3<(r=parseInt(t.value,10))?r=1e3:~~r<200&&(r=200),s.height=r):"link"===t.message&&(r=new URL(s.getAttribute("src")),n=new URL(t.value),c.test(n.protocol))&&n.host===r.host&&l.activeElement===s&&(d.top.location.href=t.value))}},d.addEventListener("message",d.wp.receiveEmbedMessage,!1),l.addEventListener("DOMContentLoaded",function(){for(var e,t,s=l.querySelectorAll("iframe.wp-embedded-content"),r=0;r<s.length;r++)(t=(e=s[r]).getAttribute("data-secret"))||(t=Math.random().toString(36).substring(2,12),e.src+="#?secret="+t,e.setAttribute("data-secret",t)),e.contentWindow.postMessage({message:"ready",secret:t},"*")},!1)))}(window,document); /* ]]> */ </script> https://muzej-jugoslavije.org/wp-content/uploads/2020/04/predeo-ii-nadezda-petrovic.jpg1192825The painting Landscape II was not dated by Nadežda Petrović, as was her custom, but according to her characteristic, precise brush moves, it can be concluded that it belongs to the first Serbian period, namely the phase Resnik, where it was most likely painted in 1904. Nadežda Petrović (Čačak, 1873–1915, Valjevo) was the most significant […]