KOVACICA, Serbia — In a small ethnic Slovak village in northern Serbia, the tradition of painting began nearly a century ago. Initially started by two farmers to fill the long winter months with creativity, their artwork is now being recognized as part of UNESCO’s intangible cultural heritage.
This form of art, known as naïve art, primarily showcases everyday occurrences, picturesque landscapes, village life, and agricultural scenes, all depicted in a style that reflects childlike simplicity.
The self-taught painters of Kovacica, located approximately 50 kilometers northeast of Belgrade, have crafted a distinct artistic culture within Serbia’s ethnic Slovak community, characterized by vibrant colors and folk elements.
Ana Zolnaj Barca, director of the Gallery of Naïve Art in Kovacica, shared the origins of this artistic movement, stating, “Naïve art in Kovacica began in 1939 when Martin Paluska and Jan Sokol took up painting.” They were farmers with minimal formal education, having completed just four grades of elementary school.
Initially, Paluska and Sokol drew inspiration from postcards, recreating images like Venetian gondolas and wildlife. However, as time passed, their focus shifted to the beauty around them, embracing their own rural surroundings, which Zolnaj Barca noted led to a flourishing of their art.
Founded in 1955, the village’s gallery now hosts the works of nearly 50 recognized naïve artists and attracts around 20,000 visitors annually.
Among the gallery’s notable artists is Zuzana Chalupova, known for her depictions of children, whose art appeared on millions of UNICEF postcards. Another artist, Martin Jonas, used exaggerated features, illustrating farmers with large hands and feet yet small heads—a metaphor for their industrious lifestyle.
While the Kovacica style originated in the village, it has gained recognition far beyond its borders. UNESCO described it as an essential aspect of preserving and sharing the cultural heritage and history of the Slovak community in Serbia.
In response to UNESCO’s decision, Serbia’s government emphasized that this acknowledgment reinforces the nation’s commitment to promoting cultural diversity.
Pavel Babka, an expert and gallerist, views naïve art as a priceless repository of traditional customs and values. He highlights a painting depicting a young girl in a traditional Slovak multi-layered skirt, on her way to church alone for the first time as a testament to cultural narratives.
Another significant piece in Babka’s collection illustrates a horse-drawn cart next to a yellow house reminiscent of Austro-Hungarian architecture, signifying the long-standing presence of the Slovak community in the area that is now Serbia.
Contemporary naïve artists, according to Babka, often draw from historical tales, preferring to depict nostalgic scenes, “they would rather paint a horse than a tractor.”
Artist Stefan Varga, 65, resonates with this viewpoint, stating that his paintings are inspired by the stories shared by his grandmother during his youth. Although those times were challenging, he recalls them as “simple and beautiful.”
Varga’s artwork captures joyful, rosy-cheeked villagers in traditional attire, alongside vibrant colors, farm animals, and oversized pumpkins. He describes the essence of naïve painting as “joy and purity, the purity of heart and colors.”
He also explains the style’s simplicity: “Naïve painters usually use straightforward colors, conveying their messages in a manner that is easily understood by everyone, whether they are Chinese, Japanese, English, or Serbian.”