This study deals with autobiographical texts written by the authors of Croatian Literary Modernism. The purpose of the research has been to describe and define them, taking into consideration the authors' motivation for writing an autobiography, the composition, form, preferences when it comes to themes and motives, narrative techniques and specific characteristics, the presence of modernist elements, as well as their artistic level. The body of texts analysed comprises thirty five autobiographies proper written by the writers of the Croatian Literary Modernism. They can be divided into two groups according to the period when they were written: there are those created in the period of Literary Modernism (1895-1916) and those written in the subsequent period (1917-1964). Thirteen autobiographies by twelve autobiographers were written at the height of Modernism (Ivan Kozarac, Autobiografija, Dragutin Domjanić, Autobiografija, Milan Begović, Autobiografija, Josip Kosor, Josip Kosor, Branimir Livadić, Autobiografija, Vladimir Nazor, Autobiografija, Rikard Katalinić Jeretov, Autobiografija, Ante Tresić Pavičić, Autobiografija, Antun Gustav Matoš, Ulomak autobiografije and A. G. Matoš, Božo Lovrić, Autobiografija, Milan Marjanović, Fragmenti autobiografije and Ivana Brlić-Mažuranić, Autobiografija). Eighteen authors wrote twenty two autobiographies after the period of Modernism (from 1917 to 1964); Viktor Car Emin, Viktor Car Emin, Autobiografija, Dodatak autobiografiji and Autobiografija u 10 rečenica, Franjo Horvat Kiš, Nešto o sebi, Jakša Čedomil, Autobiografija, Izidor Kršnjavi, Autobiografija, Dinko Šimunović, Tragikomična autobiografija, Nikola Andrić, Redaktor o autoru, Vladimir Nazor, Autobiografija, Štefa Iskra-Kršnjavi, Autobiografija, Joza Ivakić, Fragmenti iz moje nenapisane autobiografije, Jagoda Truhelka, Iz prošlih dana, Zdenka Marković, Autobiografija, Milan Begović, Moj život, Janko Leskovar, O sebi, Mihovil Nikolić, Fragmenti iz moga života, Marija Jurić Zagorka, Što je moja krivnja?, Josip Kosor, Kratka autobiografija and Velika autobiografija, Milan Šenoa, Iz mojih zapisaka, Adela Milčinović, Autobiografija), while three authors published their autobiographies in both periods (Vladimir Nazor, Josip Kosor, Milan Begović). The autobiographies of the first group were mostly commissioned; seven of which were written for Almanah srpskih i hrvatskih pjesnika i pripovijedača 1910, (ed. M. Ćurčin and B. Livadić); as afterword or foreword to the author's edition (Dragutin Domjanić, Antun Gustav Matoš, Božo Lovrić, Milan Marjanović), for a dictionary (Ivana Brlić-Mažuranić) and a magazine (Ivan Kozarac). For one autobiography in this group we do not know the motive for which it was written - it is an unfinished autobiography by Antun Gustav Matoš Ulomak autobiografije. The authors of the autobiographies written after the period of Modernism had published their most important works during (and after) the period of Modernism, but they wrote their autobiographies during their mature lifetime period, i.e. after 1916 up to 1964. Most of these autobiographies were written to make part of the authors complete works, or as forewords or afterwords (Viktor Car Emin, Franjo Horvat Kiš, Nikola Andrić, Jagoda Truhelka, Zdenka Marković, Mihovil Nikolić, Adela Milčinović, Milan Begović); then for the following magazines - Vijenac (Dinko Šimunović, Janko Leskovar, Vladimir Nazor, Izidor Kršnjavi), Globus (Viktor Car Emin), Knjževni tjednik (by Milan Begović); as a way to enter various associations (Štefa Iskra-Kršnjavi) or for some anthologies or almanacs (Jakša Čedomil, Viktor Car Emin, Josip Kosor), then for year-books (Joza Ivakić, Milan Šenoa). The exception in this group represent two autobiographies - Velika autobiografija by Josip Kosor and the one by Marija Jurić Zagorka entitled Što je moja krivnja? the motivation for their creation is not known. The autobiographies written in the period of Modernism have in common fixed and complete composition following the pattern introduction – development – conclusion. The authors present in chronological order events in their lives which they recognize as being the most important ones, choosing prose which is characterized by brevity, clarity and informative quality. The autobiographies dating after 1916 are written in forms of various length, but their structure is equally fixed and somewhat more complex, their composition being tripartite. The more lengthy forms comprise a selection of fact-oriented elements (which are considerably more numerous with both groups of autobiographies when compared to more intimate details), their proportion and the arrangement of autobiographical elements ( chronological, retrospective, feigning logic of remembering). While autobiographies written at an earlier date are based on factual elements of documentary and informative character, those created in the period in question show authors' intense and increasing interest in describing their intimate world confirming thus continuous development and formation of an autobiographical discourse in Croatian literature. In the period of Modernism writers mainly choose short prose forms, in time showing preference for longer and more extensive ways of expression therefore the most lengthy autobiographies are those written in the 40s and 50s of the 20th century (Milan Begović, Marija Jurić Zagorka, Viktor Car Emin, Josip Kosor). Formal heterogeneity of autobiographies of the period of Modernism includes autobiographies such as concise, stark report with bibliographical information on the author, a poem, a letter, a story, an essay, a feuilletonist – documentry prose, a serialized autobiography, a questionnaire, a simulated interview, as well as a series of shorter or longer prose forms. In this respect the only exception is an autobiography in verse - a poem by Vladimir Nazor. The range of themes and preoccupations is closely related to the fact that most of these autobiographies were commissioned so there are several themes which these authors consider unavoidable such as their birth, education, works, aspirations. Autobiographies written at the end of the period in question and after it, explore more deeply and elaborately the author's life, thus expanding the usual themes based on factual elements into social, cultural and other elements which made part of the artist's life or circles in which he moved. Thus the preoccupations with the problems of intimate world which gradually became more and more present are parallel to the development of the creation of autobiographies and can be seen in extensiveness of those written after 1916. The increase in the intensity of interest towards intimate themes confirms a hypothesis that the autobiography in the period of Modernism represents a certain detachment from those written in the 19th century, confirming thus continuous development and formation of autobiographical discourse. Fixed plot as a construction dominant is achieved through narrative techniques (event, encounter) and description ( state, psychological characteristics); the story is told in chronological order with occasional flashbacks, narration is based on cause-and-effect relationship, and is completed with socio-historical events. Traditional, realistic narrative techniques are dominant (Viktor Car Emin, Adela Milčinović, Franjo Horvat Kiš, Nikola Andrić, Jagoda Truhelka, Zdenka Marković, Mihovil Nikolić) while modernist techniques through the themes of selfobservation, psychological motivation, reflexive techniques, association with visions, grotesque, irony (Dinko Šimunović, Josip Kosor, Božo Lovrić, Janko Leskovar) and the techniques of collage, documentary and fragmentary quality are present only in some autobiographies (Milan Marjanović, Viktor Car Emin, Joza Ivakić). Because of numerous conditions which include commissions, (the stress put on factual elements, previously given themes, social responsibility) very often these autobiographies are not aesthetically fully realized (here we have in mind Almanacs autobiographies apart from those written by Milan Begovi and Josip Kosor, and autobiographies by Ivana Kozarac, Štefa Iskra-Kršnjavi, Milan Šenoa, Jakša Čedomila, Izidor Kršnjavi, Adela Milčinović, Zdenka Marković). In the interpretation of other autobiographies the aesthetic tinge is less discreetly present only to reach its highest level in the autobiographies of Antun Gustav Matoš, Dinko Šimunović, Josip Kosor, Ivana Brlić-Mažuranić, Vladimir Nazor and Milan Begović. The authors of autobiographies reached a much higher artistic level in their fictional works, including those with autobiographical elements. The authors in the period of Modernism aware of the reception will address their readers using autobiographies, implying presumed confessional character and intimacy, as a space for the interpretation of their own literary creations, holding obviously their own and public position as authors a priority in the thematic circle of the commissioned writers' autobiographies. Considering the number of studied autobiographies and a specific way in which they complete a certain period and artistic moment, it can be said that they provide precious testimony for the history of literature, literary criticism and literary science in general. This work in its conclusion points to the fact that without taking into consideration the body of autobiographical texts of the Croatian Literary Modernism one cannot safely draw any conclusions on such a complex artistic period. The life of the Croatian Literary Modernism has been presented through the autobiographical works in which each writer has given his subjective impression. Therefore the body of texts analysed provides some invaluable documentary insights into the historic and artistic moment in Croatian literature and art on the turn of the century. Although very rarely mentioned, the autobiography thus proves to be in terms of aesthetic, perhaps if not the most important one, but in any case not a minor literary expression of that period.