the firmer cultural orientation towards Vienna, as well as church and school reforms. The changes are visible in the works of Teodor Kračun who in his work represents a significant step towards understanding the actual Central European art. The retrospective Orthodox heritage confronted the emphasized emotionality and the movement as a fundamental element of artistic expression. Scenes are placed in the real world, Christ and Mary are depicted according to the rules of the secular ruler iconography and rely on graphic templates from popular illustrated Bibles. The group of representatives of the High Baroque include Mojsije Subotić, Grigorije Davidović-Obšić, Grigorije Jezdimirović and Lazar Serdanović. The emergence and development of Late Baroque painting had been determined by the cultural and political changes of the time of Joseph II. Conceptual changes in the era of enlightened and learned man - the Enlightenment - marked the last decade of the 18th century. The learned artist, traveling the European capitals of Art, accepts and implements the ideas of the Enlightenment reforms. Among the artists who took Serbian painting of Central European Late Baroque formulation, Jakov Orfelin and Teodor Ilić Češljar stand out. They are joined by master woodcarvers Marko Gavrilović and his sons, Arsenije and Aksentije Marković and Marko Vujatović. Neoclassicism as the style of the new era, based on the ideas of the Enlightenment, would not jeopardize the ruling Late Baroque conception in the first decades of the next century. Such a sequence is identified in the works of painters Stefan Gavrilović, Jovan Isailović Sr., Georgije Mišković and Mihajlo Živković. Among the important painters were Nikola Nešković, Teodor Kračun, Teodor Ilić Češljar, Pavel Đurković, Dimitrije Bačević, Georgije Bakalović, Stefan Gavrilović, Jovan Četirević Grabovan, Jovan Pačić, Jovan Stergević and others. 19th-century painting and drawing Religious art Printed magazines with engravings became a popular method of communicating through art, of both religious and irreligious themes. The printing of engravings of figures of prominent Serbian rulers fitted in the ideas of continuity of Serbian statehood. Monasteries on Fruška Gora and other ones in the Metropolitanate of Karlovci issued engraved magazines in which protector saints with monasteries were represented. Graphical arts of the 18th century were the first-class documents of the appearance and condition of monastery buildings before photographs. In the last decades of the 18th century, the written word suppressed visual arts as the main communication activity in religious magazines, with graphical arts becoming more and