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Contemporary Croatian painting. The term " … Contemporary Croatian painting. The term "the end of painting" appears in the descriptions of radical art movements in painting that express the nihilistic stance towards the progress of artistic creation. Such an attitude was stimulated by the disappearance of the utopian dimension of art, which was meant to transform the social relations and the position of man towards himself, in a time marked by the deaths of political ideologies and the strengthening of global capitalism. Artistic movements of this type are active throughout the 20th century, culminating with Malevich's White Square on the white background, Reinhardt's black canvases from the fifties, analytical painting, and finally emphasising the verbal component of conceptual art. The phrase "Return to painting" as a media and tradition, is a reaction to the mentioned art practices and manifests itself in the realities of the twenties and thirties of the 20th century (Forces Nouvelles in France, Valori Plastici and Novecento in Italy, Verism and Neue Sachlichkeit in Germany, Precisionism and Regionalism in America) and in the eighties (Neue Wilde, Transavantgarde, Neo-Expressionism). The lack of interest for painting during the nineties influenced the new ways of performing arts (performance, land-art, body art, etc.) and the expressive possibilities offered by electronic and digital media (installations, video). Elements that make today's art valuable and relevant are collective art practices, participatory aesthetics, and social engagement, and the "ideology of the new" has almost become a canon in (post) modern exchange of ideas. At the beginning of the 21st century, new momentum is emerging in the media of painting, and contemporary art is marked by the search for inspiration in various styles, movements, and currents of art history, so there are frequent quotes and references within visual art. Croatian contemporary painting is characterized by the pluralism of styles ranging from traditional media relations to multidisciplinarity and the exit from the conventional boundaries of the image. the conventional boundaries of the image.
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