Despite the general trend, notable monuments were built. There was some resumption of artistic endeavor after the restoration of the Serbian Patriarchate in 1557. Zograf Longin (1530-1600) and Georgije Mitrofanović were the leading painters of the late 16th and early 17th century, along with Zograf Jovan, Andrija Raičević, Zograf Radul, Sava Krabulević, Kozma Damjanović, Tripo Kokolja, Zograf Dimitrije, Strahinja of Budimlje, Kyr Georgije and Kyr Kozma. Mitrofanović's work on the church at the Morača Monastery is considered one of his best. Among the icon painters working in the Byzantine tradition in Slavonia were Nikola Klisur (mid-17th century) and Ostoja Mrkojević in the late 17th century. Baroque (18th century) Traditional Serbian art was beginning to show some Baroque influences at the end of the 18th century as shown in the works of Nikola Nešković, Teodor Kračun, and Jakov Orfelin. Painting of the Early Baroque did not create a homogeneous group of painters. It developed under the Russian-Ukrainian and Southern Balkan basis and the influences that had slowly arrived from Western European art centers. The first generation of Baroque painters nourished on the learnings of the Russian painters Vasilije Romanovich and Jov Vasilijevich, then the trainee of the Kyiv Academy of painting, Dimitrije Bačević, Vasa Ostojić, Joakim Marković, , Amvrosije Janković, Dimitrije Popović, Teodor Stefanov Gologlavac, Hadži-Ruvim Nenadović, and Stefan Tenecki. The work of Balkan icon painters in the Habsburg monarchy throughout the 18th century. Teodor Simonov (born in Moschopolis) worked for the Serbian Orthodox Metropolitanate of Karlovci during the eighth decade of the 18th century. Simonov painted the walls of the church monastery in Stolni Beograd, today's Székesfehérvár in Hungary. The works of Jovan Četirević Grabovan who completed part of his education in Imperial Russia, and returned to the Habsburg monarchy to settle in Osijek in Slavonia where he developed a rich icon-painting activity. The works of others who also came originally from southern parts of the Balkans (once known as Old Serbia) such as Hristofor Žefarović and Janko Halkozović, created in the spirit of the Levant Baroque, relying on the transferred experience of Italian Renaissance art and the Byzantine tradition, which resulted in a distinctive model of Baroque icons. The originator of the more direct rotation on Central European models was Joakim Marković, whose work is linked to the first portraits and Still lifes, and in church painting of historical compositions and heraldic depictions. High Baroque art was reflected in