The Wounded Montenegrin

The original oil painting measures 114 by 189 centimetres (45 in × 74 in).[lower-alpha 1] It shows a muscular, wounded youth surrounded by ten peasants in a humble, single-room dwelling.[2] The peasants wear hand-sewn shirts, rough leggings and leather shoes. They stand over a dirt floor, and in the background, a collection of eating utensils hang precariously from a makeshift shelf. The youth is cradled in the arms of a crouching, shaved-headed warrior. The two are surrounded by a pair of heavily armed men on either side of them.[3] Nearby, a light-haired girl quietly grieves. To the right of these figures stands a grief-stricken old man, himself surrounded by a number of figures in folk attire.[2] To the far right, two figures can be seen standing inauspiciously in the shadows. The artist's signature, rendered as Joanowits P., can be found at the bottom right.[4]

Jovanović composed a total of four versions of The Wounded Montenegrin, three oil paintings and one sketch. What distinguishes the first rendering from subsequent versions is its size (it is the largest by far), detailed precision, and the artist's removal of the two figures seen lingering in the shadows in the original.[4] The second version, an oil painting, measures 100 by 152 centimetres (39 in × 60 in). The artist's signature, P. Ivanovitch, can be seen at the bottom right.[5] The third rendition is a sketch measuring 23 by 35 centimetres (9.1 in × 13.8 in), with the artist's signature, Pa. Jo., at the bottom right.[6] The fourth version, another oil painting, measures 70 by 103 centimetres (28 in × 41 in). The artist's signature, Paul Ivanovitch, can be seen at the bottom right.[5]

Jovanović did not assign titles to his works, as he felt that if a painting was well composed viewers would be able to deduce the title themselves. Thus, the majority of the artist's works are referred to by a number of different titles.[7] The Wounded Montenegrin also appears under the titles The Wounded Herzegovinian (Ranjeni Hercegovac), The Wounded Bosnian (Ranjeni Bosanac), Sad Encounter (Žalosni susret), Sad Farewell (Žalosni rastanak) and Unsuccessful Banditry (Neuspelo razbojništvo).[4]

In line with Müller's advice, Jovanović avoided creating a sentimental work and focused instead on depicting characters and situations he observed during his time in the Balkans. This differentiates the painting from other Orientalist paintings of the day, which were based on travel accounts rather than first-hand experience.[3] The art historian Lilien Filipovitch-Robinson notes that the grouping of the figures and their interactions with one another are reminiscent of images of the lamentation over the body of Christ.[2] The right half of the scene recedes into shadow while the brightly illuminated left, where the principal figures are located, appears to expand towards the viewer. Jovanović thus directs the viewer's eye from left to right, foreground to background, through the circular pattern of the groupings as well as the diagonal lines of the peasants' swords. In line with Müller's teachings regarding light and colour, Jovanović adds touches of bright red to give warmth and movement to the scene, making it appear as though it is unfolding before the viewer. The brushwork is varied, ranging from the smooth broad strokes that define the solidity of the walls to quick short ones that make it appear like the figures are in motion.[10]

Filipovitch-Robinson praises Jovanović's "skillful handling" of linear and aerial perspective. She notes that the work is devoid of the "studio-contrived quality" of other Orientalist paintings, and argues that Jovanović's main goal was not to depict a particular historical event but rather to remind his audience of the Balkan peoples' ongoing struggle against the Ottoman Turks and provide a human face to those engaged in that struggle.[10]

The painting was first shown in public in 1882, at the Vienna Academy's annual student exhibition, which exhibited works produced during the 1881–82 academic year.[4] It was well received by art critics and Jovanović's peers, who judged it to be the exhibition's finest work and bestowed him the first-place prize.[11] Jovanović also received an Austro-Hungarian government scholarship. The exact amount accorded to the artist is disputed. Petar Petrović, the curator of the National Museum of Serbia, writes that the scholarship amounted to 300 florins.[4] Art historians Radmila Antić[12] and Nikola Kusovac[13] state the scholarship amounted to 1,000 florins. Jovanović's triumph at the student exhibition and the subsequent scholarship gave him the means to travel over the summer holidays, during which he came up with a number of ideas for future paintings, such as The Fencing Lesson (Mačevanje).[13] Winning the Vienna Academy prize established him as a respected painter of Orientalist works and set the stage for further recognition and success.[3] In 1883, Jovanović entered into a contract with Ernest Gambart's French Gallery in London to produce a series of paintings on Balkan life.[14] This contract assured him lifelong financial security.[15]

Art historians consider The Wounded Montenegrin to be one of Jovanović's best Orientalist works.[16] Petrović calls it the "crowning achievement" of the artist's studies under Müller.[4] Jovanović went on to paint a number of other Orientalist pieces, notably The Snake Charmer (1887).[17]