Abstract
The primary focus of this text is a detailed examination of the two crucifixes created by the Croatian sculptor Ivan Mestrovic (1883-1962) in different periods of his artistic career. The first crucifix, created in Geneva in 1916, provoked great interest from the public, both during the time the artist showed it at exhibition and when he introduced it into the space of liturgy. Texts published in The New Age magazine by Ezra Pound are particularly significant because he was an ardent advocate of the avant-garde tendencies in art, and he resolutely attacked this work by Mestrovic. The second example relates to the complex iconographic arrangement of the Eternally Crucified, which Ivan Mestrovic installed above the main altar of the Church of the Most Holy Redeemer in Otavice (which is also the Mestrovic family mausoleum). The artist would exhibit the plaster model of this work at important exhibitions and would also introduce it into his own living space - his family home in Zagreb. In addition to the West...
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