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At the beginning of the 20th century in Serbia, female painters, following   modern European artistic trends became leaders in the dissemination of   avant-garde ideas. Women’s art became the object of sharp critique or was   ignored by the critics and completely marginalized. Feminists strove to fix   the imbalance in practices of subject production, to establish institutions   and models of life in which the existence of ones did not entail the   suppression of all others. Despite their significant opus, certain Serbian   female artists are only now the subject of monographs. In the late 20th   century, only M. Pavlović Barili got respect, and even that was posthumous.   The ork of Nadežda Petrović, Zora Petrović and Kosa Bokšan was also valued   later, most often with the presence of other (male) authors, which confirms   that the patriarchy always values men, while the role of women was to be   unnoticeable and meaningless, always outside the focus. In this paper the   focus is on the art of Nadežda Petrović, and its reception indicates not only   the individual path of the artist, but the problem of female expression   through painting. By establishing the value of art in the spirit of   contemporary strivings, Nadežda Petrović comes up against the outcry of   painter colleagues who label her art as “naive” and “primitive”, neglecting   and refusing to acknowledge her artistic individuality. As an illustration of   the feminist engagement of Nadežda Petrović in her artistic expression, three   paintings from different phases of her career were chosen: Woman with child,   Portrait of Kosara Cvetković and Xenia. Nadežda Petrović radically oversteps   the conventional way of looking at women from the viewpoint of men. Visual   expression represses and destroys the traditional framework of seeing (in   which man is the subject and woman the object), pointing to the projected   viewer outside the painting and the woman’s gaze which prepares the   establishing of dialogue. Creating in the time of establishment of new   sociocultural relations on the ladder of male/female determinations, Nadežda   Petrović did not want to run from problems, but heralds and “insists” in an   open and direct way, flaunting her cosmopolitanism, desire for independence   and aversion toward universal ideologies. The art of Nadežda Petrović maps   the mosaic of incorporated fragmented positions of women in former as well as   in contemporary society. By deconstructing and questioning the dominant   presumption about creativity, as well as the meaning of the term artist,   artists such as Nadežda Petrović directly pointed to the unspoken idea that   the language of art is created by men, uncovering the relationship between   language, art and ideology, thanks to them, women’s art becomes noticed and   valued, which kickstarts the process of constituting an equal art, outside   the categories of “male” and “female”. [Projekat Ministarstva nauke Republike   Srbije, br. 47016: Interdisciplinarno istraživanje kulturnog i jezičkog   nasleđa Srbije. Izrada multimedijalnog internet portala "Pojmovnik srpske   kulture"

From “Woman with Child” to “Stranger”: The feminist project of Nadezda Petrovic