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The series presented separate unities, but also indicated innovations in his work.

That particular year was marked by a series of drawings entitled On the Track of Kočićs Tales, which he showed the following year in an exhibition dedicated to this author.

This research has shown each of the four artists had his own stance and model of painting, despite the fact they all began by painting motifs typical of their home region, as well as from relapses of the Avant-Garde fine art of the first half of the 20th century, and then searched for ways to evolve through a relationship between heritage and modern expression, i.e. This meant doing away with the three dimensions, local quality and modulation.

The objects had to be reduced to flat surfaces; color had to undergo metamorphosis.

In 1953, the Yugoslav Association of Fine Artists held its congress in Ohrid, where recommendations were made regarding the usefulness and necessity to establish art groups in all areas where conditions allow it.

So, the very same year a group called Danes emerged in Macedonia, whose manifesto promoted the idea that our art should rely on international achievements, oppose outmoded views on art, create a new fine art audience and cultivate its taste.

For a great majority of Yugoslav artists working in that period, a particular motif became the signature or sign they were recognized by.They would transform, decompose or synthesize it by means of color and shape, keeping it on the borderline between figurative and abstract.Many of them used a single motif to create a number of paintings, and some never abandoned it (e.g. At that time, finding themes and inspiration in their own surroundings was equally the motto of the professors of our Group of Four, Boo Nikolić and Radenko Miević.The same year, however, the Group of Four was formed in Banja Luka, far from the center, far from Sarajevo.They explained the reasons why the group was formed in two forewords, very much like manifestoes, in the modest catalogs of their first exhibitions.

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