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2. Ćurčin, Milan, “Umetnički pregled: Izložba Ivana Meštrovića u bečkoj Secesiji,“ Srpski književni glasnik 24, no. 4 (1910): 303–4.Google Scholar

3. Mitrinović, Dimitrije, “Titan slovenske plastike Ivan Meštrović,” in Palavestra, Predrag, ed., Sabrana djela, vol. 1, O književnosti i umjetnosti (Sarajevo, 1990-09), 430–31.Google Scholar

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9. See, for example, Wachtel, , Making a Nation, 54–59, 110-12;Google Scholar Wachtel, , “Ivan Meštrović, Ivo Andrić, and the Synthetic Yugoslav Culture,” 238–51;Google Scholar Conley, Tanja Damljanović, “Belgrade,” in Makaš, Emily Gunzburger and Conley, Tanja Damljanović, eds., Capital Cities in the Aftermath of Empires: Planning in Central and Southeastern Europe (Abingdon, 2010), 56–57;Google Scholar Damljanović, Tanja, “The Question of National Architecture in Interwar Yugoslavia: Belgrade, Zagreb, Ljubljana” (PhD diss., Cornell University, 2003), 61;Google Scholar and Merrill, , Only the Nails Remain, 114–15.Google Scholar

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11. Ibid., 111, 121,125.

12. See, for example, Calic, Marie-Janine, Geschichte Jugoslawiens im 20. Jahrhundert (Munich, 2010), 63.CrossRefGoogle Scholar

13. On the exhibitions, see Meštrović, Ivan, “Model za Kosovski hram,” Narodni list, no. 52 (1913): 2;Google Scholar Vulić, Ljubiša S., “Kosovski hram,” Novosti 21, no. 306 (1913): 2, and no. 313 (1913): 2Google Scholar; and “Kosovski hram,” Balkan 2, no. 288 (1913): 1. On the impact of these exhibitions, see Clegg, Elizabeth, “Meštrović, England and the Great War,” Burlington Magazine 144, no. 1197 (December 2002): 740–51;Google Scholar and Kečkemet, Duško, Život Ivana Meštrovića, 1883-1932 (Zagreb, 2009), 345–47.Google Scholar

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15. Berger, Stefan, “National Myths in Europe,” European History Quarterly 37, no. 2 (April 2007): 291–300;CrossRefGoogle Scholar Burke, Peter, Eyewitnessing: The Uses of Images as Historical Evidence (London, 2001), 60–67,178-89.Google Scholar

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17. Rusinow, , “The Yugoslav Idea before Yugoslavia,” 20–21;Google Scholar Pavlowitch, Kosta St., “The First World War and the Unification of Yugoslavia,” in Djokić, ed., Yugoslavism, 28.Google Scholar

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19. The classic work on the subject remains Banac, National Question in Yugoslavia, 70–140.Google Scholar

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25. Quoted in Stepanović, Branislav, Nacionalni testament kralja Aleksandra I (Belgrade, 1936), 1.Google Scholar

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27. This attitude is encapsulated in Mitrinović, Dimitrije, “Za jugoslovensku filozonju kulture,” Delo 69, no. 1 (1913): 76–82.Google Scholar

28. Quoted in Ambrozić, Katarina, Nadežda Petrović, 1873-1915 (Belgrade, 1978), 311n732.Google Scholar

29. Milčinović, Andrija, “Umjetnička izložba,” Narodne rtovine, 19,21, and 25 May 1910.Google Scholar In order to avoid the political connotations of Meštrović's pieces, the organizers altered the names: the Vidovdan Temple was renamed simply “the Temple,” Miloš Obilić became Torso of a Hero, Srđa Zlopogleđa became Head of a Warrior, and Kosovka djevojka (The Kosovo Maiden) became Girl Watering the Wounded.

30. Šević, , “Kosovske pesme u kamenu,” 91.Google Scholar

31. Nochlin, Linda, The Body in Pieces: The Fragment as the Metaphor of Modernity (London, 1994).Google Scholar

32. Kraševac, Irena, Ivan Meštrović i secesija: Beč, München, Prag, 1900-1910 (Zagreb, 2002).Google Scholar

33. See Guldin, Rainer, Körpermetaphern: Zur Verhältnis von Politik und Medizin (Würzburg, 2000).Google Scholar

34. Roessler, Arthur, “Ivan Meštrović—Wien,” Deutsche Kunst und Dekoration 26, no. 3 (June 1910), 143–64,Google Scholarquoted in Clegg, Elizabeth, Art, Design, and Architecture in Central Europe, 1890-1920 (New Haven, 2006), 177.Google Scholar

35. Alearno, Sibila, “Le trecento di sculture di Ivan Meštrović,” La Lettura 2 (1911): 779–86.Google Scholar

36. Ambrozić, Katarina, “Paviljon Srbije na Medjunarodnoj izložbi u Rimu 1911. godine,“ Zbornik radova Narodnog muzeja 3 (1960/61): 249–52.Google Scholar

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39. Josef Strzygowski, “O Herr, einen Künstler: Meštrović in der Sezession,” Die Zeit, 18 January 1910, quoted in Strajnić, Kosta, Ivan Meštrović (Belgrade, 1919), 16–17.Google Scholar

40. “Wiener Kunstbrief,” Prager Tagblatt, 30 January 1910; Wiener Allgemeine Zeitung, 20 January 1910. On Meštrović's political activity, see Mladinić, Norka Machiedo, “Prilog proučavanju djelovanja Ivana Meštrovića u Jugoslavenskom odboru,” Časopis za suvremenu povijest 39, no. 1 (June 2007): 133–56.Google Scholar

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45. Marjanović, Milan, “Trijumf smelosti i karaktera,” Jug 1, no. 5 (1911): 2–3.Google Scholar Contemporary commentators referred to the unsuitability of historical styles (for example, the Byzantine and the Gothic), commonly associated with Serbian and Croatian national tradition, to represent the style of the Yugoslavs. See Strajnić, Ivan Meštrović, 18 Google Scholar; and Mitrinović, , “Reprezentacija Hrvata i Srba na Medunarodnoj izložbi u Rimu,” 524.Google Scholar See also Kosta Strajnić, “Savremena jugoslovenska umjetnost,” Književne novosti 23 (1914): 366 Google Scholar; and Strajnić, Kosta, “Umjetnost Meštrovića,” Savremenik 3–4 (1915): 115.Google Scholar

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48. Strzygowski wrote several studies on Meštrović. See, for example, Strzygowski, Josef, “Eine Grabkirche von Ivan Meštrović,” Deutsche Kunst und Dekoration 52, no. 26 (1923): 127–72;Google Scholar and Strzygowski, , Zadužbina porodice Račić, Cavtat (Zagreb, 1937).Google Scholar He also dedicated his book Die Alt slawische Kunst: Ein Versuch ihres Nachweises (Augsburg, 1929) to Meštrović. See Strigovski, J., “Meštrovićevo mesto u razvoju svetske umetnosti,” Nova Evropa 10, no. 1 (1924): 2–10 Google Scholar; and Strzygowski, Josef, “Ivan Meštrović: Zur Einfiihrung,“ Ivan Meštrović (Zagreb, 1935), 16.Google Scholar

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52. Quoted in Strzygowski, Joseph, “Eine Grabkirche von Ivan Meštrović,” Deutsche Kunst und Dekoration 26 (June 1923), 134.Google Scholar The same attribute was expressed by Auguste Rodin, who, after seeing the Vidovdan pieces, allegedly exclaimed, “This is my dream! “ Hevesi, “Ivan Meštrović,” Fremdenblatt, 16 January 1910,19.

53. Marchand, Suzanne L., “Philhellenism and the Furor Orientalis,” Modern Intellectual History 1, no. 3 (November 2004): 331–58.CrossRefGoogle Scholar See also her German Orientalism in the Age of Empire, 403-10.

54. The fact that Meštrović used to speak about “Rome and the Orient” is quite indicative of his acquaintance with Strzygowski's ideas. See Cozzani, Ettore, “Ivan Meštrović,“ L'Eroica, La Spezia 4, no. 2 (1914): 49–66.Google Scholar

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59. Meštrović, , “Ideja ‘Kosovskog hrama,’” Jadran 1, no. 3 (November 1915): 2.Google Scholar

60. Ibid.

61. Ibid.

62. Smith, Anthony D., Chosen Peoples: Sacred Sources of National Identity (Oxford, 2003), 42.Google Scholar

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67. Irena Kraševac, “Ivan Meštrović—rano razdoblje: Prilog istraživanju kiparevog školovanja u Beču,” Radovi Instituta zapovijest umjetnosti 23 (1999): 185. Both Plečnik and Meštrović were members of the Committee for the Organization of the Artistic Work of Serbia and Yugoslavism (Odbor za organizaciju umetnickih poslova Srbije i jugoslovenstva), initiated in Belgrade in 1913 under the patronage of the Serbian royal family. See Dejan Medakovic, “Principi i program ‘Odbora za organizaciju umetnickih poslova Srbije i Jugoslovenstva' iz 1913. godine,” Zbornik Filozofskogfakulteta 11, no. 1 (1970): 671–82.

68. Moravánszky, Ákos, Competing Visions: Aesthetic Invention and Social Imagination in Central European Architecture, 1867-1918 (Cambridge, Mass., 1998), 167.Google Scholar In a short biographical note, Meštrović recalled Wagner's influence as “more substantial than that of Ferdinand Hellmer,” his architecture professor at the academy in Vienna. Ivan Meštrović, “Umetnost i priroda,” Pravda, 6-9 January 1936, 16.

69. On Plečnik, see Mitrinović, Dimitrije, “Izlozba hrvatskog umjetničkog društva 'Medulić’ u Zagrebu,” Srpski književni glasnik 26, no. 1 (1911): 75 Google Scholar; and Ignjatović, “From Constructed Memory to Imagined National Tradition,” 633-34.

70. The Vidovdan Temple's rather anticlassical rendering was similar to the “Assyrian Babylonian idiot style,” as contemporary critics had deemed Wagner's design of St. Leopold's Church at Steinhof as well as several other projects of the time. See Strickland, Roy, “Exploring Wagner's Vision,” Progressive Architecture 69, no. 4 (April 1988): 28.Google Scholar See also Blaschke, Bertha and Lipschitz, Luise, Architecture in Vienna: Historicism—Jugendstil— New Realism (Vienna, 2003), 79.Google Scholar

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78. Bogdan Popović, “What Is Meštrović's Place in Art and Who Is to Judge on It?,” in Ćurčin, ed., Ivan Meštrović, 43. See also, for example, Emilio Cecchi, “Un primitivo secessionista,“ II Marzoco, 19 November 1911.

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82. In Primitivism in Modern Art (New York, 1967), 250-61, Robert Goldwater elaborated on precisely this topic in terms of its dividing primitivism into two large strands: one based on the undesirability of externals (including copying from nature) and the other on formal simplifications and symbolic meanings. For his later accounts of architectonics and symbolism in the primitivizing and archaizing tendencies in sculpture, see ibid, 239.

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