This final thesis is based on the interpretation of the continuity of artistic activities on the Vis archipelago islands: Vis and Sveti Andrija (Svetac). The story is about art colony with manifest significance which appeared in summer of 1930 on the island of Svetac according to Croatian poet Tin Ujević and his essay Teuta's Garden, Island Of Sveti Andrija. Although appearance of first art colonies binds with sculptural symposia and colonies in socialist Yugoslavia from the beginning of 1950's, the artistic community on islands of Vis and Svetac from 1930's we also interpret as appearance of joint work between the artists and workers. The members of art colony are: painters Đuro Tiljak, Mirko Kujačić, Ignjat Job, Vinko Foretić and journalist and photographer Franjo Fuis. In accordance with collective memory of inhabitants of Komiža on Vis island, these artists were spending time during the 1930's on the homeland of „Medulić“-member Vinko Foretić. Those artists were inspired by stories about life of fishermen just before they came on the Vis island and the island of Svetac and finally they devoted themselves to presentation of traditional life and work in island community. For example, on the island of Svetac the graphic map Ribari (1934.) was created by Mirko Kujačić who resided for a long time between fishermen. Equally was made documentary-scenic photography of reporter Franjo Fuis (Fra-Ma-Fu) who accompanied life of the fishermen Zanki from the island of Sveti Andrija. As followers of the Association of Artists „Zemlja“ (1929.–35.), the artists long for collective art approach by the meaning of socially engaged art so the art pieces represent the life of fishermen and the industrial work of female members of the community on the Vis island during the industrialization in manufactory of the fish industry. It was a path for the art heritage achievemen accordant with cultural events and exhibition activities in town of Komiža.