Dragutin Tadijanović wrote an enormous number of poems during his long life and work. Even though many critics have been attributing him an almost mythical connection with Rastušje and have thus unfairly classified him as a rural poet, the hypothesis of our doctoral dissertation is that he is primarily and noticeably an urban poet. Not only did he use to write detailed information below most of his poems, but he also used to note down the city in which those poems were written. Thereby the city becomes an important urban motif – whether it is outside the text itself, through a literal mention of a proper noun or a common noun referring to the city in the body of the poem. In order to confirm our hypothesis, we started from general scientific knowledge about space, through the position of social sciences and humanities, showing the development of the city and the realization of its identity through history, but with great emphasis on the city in Croatian literature. Taking into consideration that Tadijanović's forerunners were modernists (not in the terms of taking over the influence, but rather in the sense of earlier affirmations of the city's motifs in the poems), their representative poems were interpreted and analysed so that it can be seen if there were any influences on Tadijanović. Although, even after the modernists, and during Tadijanović's lifetime, there were those who (in poetry or prose) dealt with the city (such as Krleža, etc.), Tadijanović's work, based on Collected Poems and Green Fruit as a research corpus, shows that the urban motif is definitely dominant in his overall poetry and that he should fairly be called an urban poet. Whether he talks about Croatian or European cities, he acts like an urban anthropologist, showing an understanding of the mentality of the inhabitants of individual cities and recognizing even the tiniest urbogliphs, seemingly unimportant.