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Since 1898, the Stanisic family has been producing stained glass by hand in Yugoslavia. Stanisic studio has produced many important works in churches and synagogues in Europe and around the world. During the time between the first and second World Wars, the stained glass industry in Yugoslavia was expanding. In 1932, the Stanisic Studio employed 45 full time employees and completed painted windows depicting saints for seven churches. That same year, the studio took part in international exhibition in Greece and Italy: for those exhibition, Stanisic Studio created portraits on glass of the Italian Royal Family, prime minister Mussolini and the Pope. After World War Two, Yugoslavia was devastated and the Communist party took over. The communists built factories and grandiose buildings, for social purposes. During those years, the Stanisic Studio presented stained glass in the style of social-realism. One of the first projects was stained glass which presented the reconstruction of the country and the army for the Executive Council of the Federal People’s Republic of Yugoslavia. The following projects symbolized the luxury, wealth and happiness which some believed communism would bring.
That euphoria lasted until the mid-’60s.In 1964 Milan Stanisic II went to Germany to receive training with the Mayer-Cetler and Gerling Studios. He took over the business from his father later this year. The time of Communist enthusiasm passed, and a period of more modest building projects began. It was then that many long-neglected buildings began to be restored. One of the largest projects was the restoration of a 2,150 square foot glass dome in President Tito’s residence in Belgrade. The next period of stained glass in Yugoslavia became known as post social realism, when glass was being created for museums commemorating the Revolution. In the meantime, the role of religion was increasing, and demand for stained glass windows for churches was growing. Yugoslavian society longed for a return to the basic values of human life; people wanted to save what had been so unjustly neglected for four decades. Stained glass restoration became a major part of the Stanisic studio business. While still creating new stained glass with figures hand painted in the traditional styles, Milan Stanisic II collaborated with many church recommended artists. In 1980, Milan Stanisic II won the Silver Medal of the University of Arts in Belgrade and was promoted to Director of the Stained glass Division within the Academy of Applied Arts
The major projects during this time was the restoration of two synagogues in Novi Sad and Subotica. The synagogue in Novi Sad is the largest sacral building in Yugoslavia. In a period of one year, the Stanisic's restored about 3,200 square feet of stained glass on the buildings many windows, rose windows and its 40-foot diameter dome. The synagogue had been closed since the beginning of World War II; the stained glass had sustained heavy damage, and more then half of the windows were missing completely. In 1991 the synagogue was completely restored and turned into a concert hall. In addition to making sacral stained glass windows, the Stanisic Studio followed the development of modern architecture, always trying to incorporate the experience of old techniques in the modern style. In 1989, Stevan Stanisic II went to the United States to improve his skills. He prolonged his stay to one year and worked with two major studios in New York City, Greenland and Rohlf’s. After his return to Yugoslavia the Stanisics undertook the restoration of glass in two churches in Yugoslavia. In 1991 Milan Stanisic II moved to Budapest, Hungary. In 1992 he began work on commission for the Gellert Hotel in Budapest. Built in 1918, the Gellert is one of the most luxurious hotels in Europe. In 1993, Stevan Stanisic II and his family emigrated to the United States, where he continues his career with Blenko Glass Company. From 1993 to 1998 Stanisic studio in Yugoslavia has been managed by Aleksandra Borovac - Stanisic. In 1994, Stevan Stanisic established a stained glass studio "Glass Art Stanisic" in Huntington, West Virginia. Numerous religious projects were completed for more than forty churches in a period of three years. In 1997 he moved the business to Washington D.C. and started a new Company Vitraux Art. In 2001, Stevan Stanisic became again an owner and Art Director of Stanisic Studio in Sombor, Yugoslavia, after his father Milan Stanisic, retired.