After 1953, when the theoretical struggle with the doctrine of socialist realism and its practical counterpart with the Russian policy of hegemony vis-a-vis Yugoslavia had reached and passed their zeniths, in MurtiŠ's work, too, the polemical overtones motivated in part by the political context also died down. It was as if there were some genuine demobilisation at work. After the difficult years of World War II, after the struggle to expand the realm of individual freedom in the post-war period, and the determined shifting of the marker flag from the (dreamed of) Paris and the (imposed) Moscow to New York - when MurtiŠ, faced with two types of different past, chose the future - the painter, letting go of the areas of causality, for the first time in twenty years, gave himself up to dreams, consigned himself to the imagination. By then a seasoned traveller, MurtiŠ knew the European and North American art scenes at first hand. In America he had got to know de Kooning and Pollock, in Europe he had seen the works of Bazaine, Manessiere, Santomaso, Aft, Singier... In the whole of the world the period of lyrical modernism was beginning, that is, the period of lyrical abstractionism. This painting fraternity was not at all small, and many circumstances favoured it. Not to go in here for archetypal modÚls of the spirit, let us say that the need to forget the unhappiness, the suppression of the tragic aspects of life, which had been so insistently and cruelly present between 1929 and 1945, was a normal human reaction, and in no way a flight from reality. There had been too much evil for a better world to be founded upon it.

The freshness of MurtiŠ's works from these distant days of 1953-1956 is such that it can take us quite aback. If we have earlier named, uncritically and facilely, his models, now we can note that many of them are by now just pale shadows alongside the joy and power breathed by his early work.