Pavle Simić

Simić painted mainly icons for the sanctuary screens (iconostases) and portraits of distinguished families of the time. Among his works are the iconostasis of Kuveždin Monastery (1849) that of the church of Šabac (1853-1856); he worked at Stari Futog (1855), painted the iconostasis of Đurđevo in the region of Šajkaška (1857), that of the church of Saints Peter and Paul of Rumenka and that of the Serbian Orthodox Church of Saint Archangel Michael of Senta (1859). He still worked in the church of St. Nicholas of Novi Sad (1863) and in the chapel of Platon Atanacković, in the cemetery of Almaš in Novi Sad (1864). Also, his art can be found in the church of St. Nicholas of Bašaid, in the Banat (1864-1866), the church of Orahovica Monastery in Slavonia (1867), the old church of Glina (1866-1868), Church of St. George of Sombor (1870-1873) and Hariševa Chapel of Zemun (1874). Simić is even better known as a portrait painter. His portraits include Probojčević, Čovek u belom prsluku and Archpriest Matija Nenadović, some of the finest Serbian paintings of the mid-nineteenth century. Among his small portraits are Agripina Grujić and the poet Milica Stojadinović-Srpkinja. He is also the author of historical compositions, some of which has now disappeared.