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Ове године се навршава сто година од првог јавног представљања сликарства Саве Шумановића у Београду у оквиру Пете југословенске изложбе, која је отворена у јуну 1922. године у згради Друге београдске гимназије. Шумановић је на изложби наступио у оквиру београдске „Групе слободних уметника“, уз Јована Бијелића, Ивана Радовића, Живорада Настасијевића, Сиба Миличића, Душана Јанковића, Вељка Станојевића и Петра Палавичинија, и изложио пет слика насталих у Паризу током 1921. године: Берба (1920/21), Лучки агент (1921), Предео из Орсеја (1921), Француско село, Композиција/Две наге жене (1922). То је уједно и први пут да се Шумановић представља као протагониста београдске уметничке сцене. У раду се разматрају околности које су довеле до Шумановићевог наступа на овој изложби и његовог укључивања у београдску групу уметника и анализира се веома запажена рецепција Шумановићевог рада у ликовној критици. Sava Šumanović showed his painting to the Belgrade public for the first time in 1922 when he took part in the “Fifth Yugoslav Exhibition” with the “Free Artists Group” from Belgrade, together with Jovan Bijelić, Ivan Radović, Živorad Nastasijević, Sibе Miličić, Dušan Janković, Veljko Stanojević and Peter Palavičini. On that occasion, he exhibited five paintings created in Paris during 1921: Harvest (1920/21), Port Agent (1921), Scenery from Orsay (1921), French Village and Composition/Two Nude Women (1922), which received extremely affirmative criticism. Despite having spent this period in Zagreb, Šumanović was presented at this exhibition as a Belgrade artist. There is more than one reason for this and are all related to Šumanović’s personal motives stemming from how dissatisfied he was with the reception of his work in Zagreb, and his desire to become more professionally connected to the Belgrade art circles with which he maintained close contacts. In the broader context of art exchange in Yugoslavia after 1919, Šumanović’s participation at the “Fifth Yugoslav Exhibition” represents an example of increased cooperation between young artists from Belgrade and Zagreb, which is supposed to transform relations within the artistic life in these cities and actively promote new tendencies in art. A shortterm relocation to the Belgrade artistic community, where his work received (desired) critical and professional affirmation that occurred at a turning point in the painter’s career, finally established Šumanović as one of the most promising, leading Yugoslav artists of the new (post-war) generation. For the image of the “Fifth Yugoslav Exhibition”, the appearance of Sava Šumanović comes as a resolution of the dilemma about the development of modern art in Yugoslavia which would go beyond national and/or local frameworks. Art criticism recognizes a new model of artistic expression that speaks of the contemporary aspect of this important event for Sava Šumanović’s constructive painting, which gives credit to his painterly contribution to modernist painting in Serbia and Yugoslavia.