certain illogicalities of form and space. Such characteristics are the expression of a free creative imagination, in a similar way to other 20th-century art movements such as Symbolism, Expressionism, Cubism, and Surrealism. In Croatia, Naïve art is also seen as a democratic movement, as the movement proves anyone can create worthwhile art regardless of formal training. Within these art forms various the emotive qualities of works are often more visible than any reigning form of logic or reason. Common themes include: "the joy of life," "forgotten nature," "lost childhood," and "wonder at the world." However, Naïve art does not only reflect positive aspects of life, and dark and tragic themes can also be found within the genre. Naïve art first appeared in Croatia at the beginning of the 1930s when the Zagreb Art Pavilion showcased an exhibition of the artists' association entitled Country (Zemlja) on 13 September 1931. Of the artists exhibited, two particularly stood out: Ivan Generalić, who showed three drawings and nine watercolors, and Franjo Mraz, who exhibited three watercolors. The artists sought to show that talent does not only reside in certain social classes or privilege and started the association with naïve art and paintings of villages or by artists from the countryside rather than cities. Themes in Croatian naïve art branched out in the 1950s from villages to "personal classics," which included architectural monuments and objects and opened a period known as "modern primitive art." Earth Group The Earth Group (Grupa Zemlja) were Croatian artists, architects and intellectuals active in Zagreb from 1929 to 1935. The group was Marxist in orientation and was partly modelled on "Neue Sachlichkeit", leading to more stylized forms, and the emergence of Naive painting. The group included the painters Krsto Hegedušić, Edo Kovačević, Omer Mujadžić, Kamilo Ružička, Ivan Tabaković, and Oton Postružnik, the sculptors Antun Augustinčić, Frano Kršinić, and the architect Drago Ibler. The Earth group searched for answers to social issues. Their program emphasised the importance of independent creative expression, and opposed the uncritical copying of foreign styles. Rather than producing art for art's sake, they felt it ought to reflect the reality of life and the needs of the modern community. Activities at the group's exhibitions were increasingly provocative to the government of the day, and in 1935 the group was banned. Hlebine School The Hlebine School is the term applied to a group of naive painters working in