Filozofija I Društvo 2005 (27):163-187 (2005)

Abstract
In histories of Serbian painting Sreten Marić is listed among the protagonists of socialist realism, and that on the basis of a single article - his criticism of an exhibition staged by the Association of Visual Artists of Serbia to the benefit of wounded veterans . Without denying the historical basis for this judgment, the author of the present paper pleads for a more nuance approach and propounds the thesis that socialist realism was primarily a complex pattern of social relations, and only in the second place a substantively defined doctrine. On the basis of an insight into the relevant sources it is argued that Marić was not a theorist of socialist realism; on the other hand, an ideologue of social painting he was indeed, believing in a synthesis of Art and Revolution. By way of comparison, the figures of Miroslav Krleža and Georg Lukács are referred to: neither of the two was a protagonist of socialist realism, though both belonged firmly to the so-called leftist thought
Keywords socialist realism, history of painting, social art, synthesis, Sreten Marić
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DOI 10.2298/FID0527163B
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