Ivo Kerdić (best known for medallions), and Branislav Dešković (known for animal sculptures). Painters in the group included Mirko Rački best known for his powerful illustrations of Dante and his posters, Tomislav Krizman and Jerolim Miše. Two strong images from the time are "The Austro-Hungarian Monarchy" by Mirko Rački (1916) and "Black Flag" by Ljubo Babić (1919), both portraying the disintegration of the Austro-Hungarian state. Rački used the secessionist decorative style in a powerful statement: a soldier stands to attention against an empty grey field, while behind him sways a black and yellow snake (the colours of the Austrian flag). In Babic's painting, the subject is the funeral of Emperor Francis Joseph portrayed with a large elongated black flag hanging like a guillotine over a company of people dressed in gay, sumptuous colours. Spring Salon During 1916–28, the Spring salon exhibits in Zagreb brought together painters, sculptures and graphical artists. At the first exhibit in the Ulrich Gallery (1916), artists included Ljubo Babić, Jerolim Miše, Tomislav Krizman, Zlatko Šulentić, and sculptors Ferdo Ćus, Hinko Juhn and Joza Turkalj. During the First World War, many artists went abroad, and the salon became the only organized art-related activity at the time. The paintings exhibited showed strong use of form, and restricted colour palettes. The move to flatter forms, in the manner of Cézanne, came in the 1919 Spring Salon exhibition, with the next generation of artists such as the Prague Four (Praška četvorka) Vilko Gecan, Milivoj Uzelac, Marijan Trepše, and Vladimir Varlaj. Expressionism, cubism and secessionism ideas spread, and new directions also came from Đuro Tiljak who had studied with Kandinsky, while Marino Tartaglia bought back the ideas of the Futurists from Rome and Florence. By the 1920s, elements of neoclassicism were creeping in, with its simpler forms. Zenit The incoming ideas from the rest of Europe were balanced by artists who wanted to integrate the new artistic directions with their native cultural identity. The journal Zenit (Zenith), was an avant-garde review of new arts and culture that played a key role in this movement. Founded in 1921 by the poet and critic Ljubomir Micić, despite criticism and controversy, Zenit continued for 6 years to promote the cause for international modernism consistent with a Yugoslav cultural identity. One of contributors to Zenit was the architect and artist Josip Seissel, who under the pseudonym of Jo Klek is considered to be the first