Description

Painting of Mica Popović – Still life with grapes is an old painting of his from 1985. This is a typical example of his painting, still life motifs with slightly pronounced relief and strong color are known to painting lovers. Mića Popović worked in stages, and the most famous are his figurations and enformels.

This painting was done using the oil on canvas technique. Dimensions are 55 x 65 cm (without frame) and 79 x 89 cm (with frame). The price of the painting by Mića Popović – Still life with grapes is with the frame. The frame is lux wide dark gray with a white wide frame, and the passe-partout is a dark gray box. The frame is selected with style and in accordance with the colors in the picture.

With the technique of oil on canvas, the painting by Mića Popović – Still life with grapes takes us to a different world of painting. He enrolled at the Academy of Fine Arts in Belgrade in 1946 in the class of Professor Ivan Tabaković. At that time, he lived in Simina 9 a, which became the gathering place of many, later very famous and influential politicians, intellectuals and artists. Together with Bata Mihailović, Petar Omčikus, Mile Andrejević, Ljubinka Jovanović, Kosara Boškan and Vera Božičković, he left the Academy and went to Zadar, where in 1947 the famous “Zadar Group”, the first artistic commune in post-war Yugoslavia, was formed. Upon returning to Belgrade, due to arbitrariness and indiscipline, they were all expelled from the Academy. Later, they were allowed to continue their painting studies, except for Mića Popović, with the explanation that “he is an accomplished painter, so he no longer needs the Academy”.

Popović continued to study alone, with the help of professor Ivan Tabaković. He was elected a corresponding member of SANU in 1978, and a full member in 1985. Mića Popović went through several phases of painting, the most famous of which are “enformel” (French: informel, without form) in the period 1959-1969. and “scenery painting” from 1969 to 1979. The central place of Mica Popović’s entire painting oeuvre, viewed retrospectively, in all phases, was the fateful feeling of the tragedy of existence — both individual and collective.