This applied art in decoration is wisely fostered by the various governments, and there is liberal encouragement also given to modern art. Especially is this the case in Bulgaria. The impression I have got from seeing picture collections in the Balkans is that the local artists have learned foreign methods without adding any national bent of their own, and contrive to give a native character to their pictures only when they make the choice of some particularly horrible subject. Yet there should come a vigorous art as well as a vigorous literature one day from these Balkan States. There the mysticism, the melancholy, the transcendentalism of the Slav is mixed with the fatalism of the Turk, and the vivacity of the Greek and the Roumanian in the national types. Byzantine traditions, Slav traditions, classic Greek traditions, Roman traditions mingle to influence this composite character, the two former predominating, but the two latter having a very definite power. It should be rich soil for talent, even for genius.
Interesting opportunities were given in the Southern Slav Art Exhibitions of 1904 and 1906 (the first at Belgrade, the second at Sofia) to note the trend of art in the Balkans. At those Exhibitions Bulgarian, Serbian, Croatian, and Slavonian arts were represented. The Croatian pictures--I follow a trustworthy guide in stating this--showed a high degree of technical skill, not distinguishable from Austrian art in character: the Slavonian pictures were also technically good, but of a more impressionist character: the Serbian pictures imitated in technique the Old Masters, but took their subjects almost exclusively from Serbian history: the Bulgarian pictures had no national characteristic in style, but usually sought to be transcriptions of some form of Bulgarian life of the day.
Summing up the art position in the Balkans, it can be fairly said that before the outbreak of the last great war very good progress had been made for the few years since the Liberation from the Turks. A wise policy for the future would be to encourage as much as possible the peasant arts and crafts which are distinctive, and not to seek to impose too much of modern art education, which may stifle national influences and inflict a sterile sameness.