Croatian artistic ceramics has rich and sustainable tradition, which has been incorporated into the general heritage of the European ceramic production. Milan Kičin is one of them, who from the beginning of the fifties incorporated his creativity into the core of the most originating formative values in this particular artistic medium.

Simultaneously a poet, a painter, a sculptor and a graphic artist, Kičin subordinated all his manifold capabilities exclusively to the ceramic form and its revival, always showing new and diverse possibilities of ceramic expression. Ceramicplastic artifacts of Milan Kičin quite precisely impose him into the Croatian contemporary art as a credible witness to the poetic tendencies of the time and to his undeniable originality.

In his many years of work, Kičin had gone through some interesting development stages, which are shown with a distinctive, mostly museum examples. From the 1958 scholarship in Finland, distilled influences of folklore art, precolumbian and black plastic are observed, accompanied by the appropriate application of eramic techniques: some graffiti in angobi, patinated terracotta and painted glaze without cracle.Over time, Kičin moves over to the constant use of glaze crackle (rare precious ceramic retrospective), otherwise typical for the Zagreb Ceramic School. The forms became more abstract and free in stylization, colors more sophisticated and the crackle was on certain spots doubled.