Milena Pavlovi\u0107 Barilli achieved a powerful artistic expression, which left a mark on the European avant-garde of the fourth decade of the twentieth century, with its immense wealth of visual imagination enriched with the poetry of colors. She was an artist of delicate sensibility who expressed the questions and answers in her canvases, using enigmatic compositions, metaphors, symbols and visions. Her powerful artistic creativity is evident through her various interests - drawings, prints, aquarelles, pastels, temperas, oils and - verses.<\/p>\n\n\n\n
In the words of her mother Danica: \u201cEverything in Milena\u2019s life is extraordinary \u2013 the beginning, the duration and the end\u201d.<\/p>\n\n\n\n
Milena Pavlovi\u0107 Barilli was born in Po\u017earevac on 5th November 1909 as the only child of Danica Pavlovi\u0107 and Bruno Barilli. On her mother's side, Milena was the descendant of Kara\u0111or\u0111evi\u0107 dynasty by Sava, the eldest daughter of \u0110or\u0111e Petrovi\u0107, the founder of Kara\u0111or\u0111evi\u0107 dynasty, and on her father's side, of the famous artistic family of Barilli from Parma. Milena's parents gifted her not only with artistic talent, but also with extraordinary education and versatility.<\/p>\n\n\n\n
Milena's short life was marked by her hometown of Po\u017earevac, but also Belgrade, Munich, Rome, Paris and, finally, New York.<\/p>\n\n\n\n
As an exceptional talent, she was educated in the Belgrade School of Art by Beta Vukanovi\u0107, and then went on to prepare for the Munich Academy in the private art school Blocherer Schule. Her teachers in the Munich Academy were Hugo von Habermann and Franz von Stuck.<\/p>\n\n\n\n
During her early days, Milena relied on the academism of the Munich school reflected in the skilled precision and a poetic idea of feelings. The subjects of her paintings are portraits of family members, close friends and movie stars like Rudolf Valentino. Her \"Self-portrait\" from 1929 belongs to this period.<\/p>\n\n\n\n
he road took her to Spain first in 1931, and then to London where she held a solo exhibition \nin the Bloomsbury Gallery. From London she went to Paris, the European intellectual and artistic \ncenter of the day where she lived until 1939. This period is characterized by the introduction of \nsymbols and topics which she would be attracted to permanently. The line becomes the dominant \nelement of her paintings combined with delicate, sophisticated color tones. She was inspired by \nGiorgio de Chirico.<\/p>\n\n\n\n
Jean Cassou entered her creative life at the time and wrote a critique of her \nParis exhibition. Among other things, he wrote of her: \u201cMilena possesses the keys to the dreams \nof painting.\u201d<\/p>\n\n\n\n
Milena\u2019s versatile artistic spirit did not stay still and was not fulfilled only by painting. She wrote\npoetry and started publishing it in magazines (\u201cQuadrivio\u201d), always accompanied by illustrations\nand drawings. Besides Serbian, Milena wrote poetry in Italian, Spanish and French.<\/p>\n\n\n\n
After Rome, she held exhibitions in Florence and Venice. There is a change in her painting, under the\ninfluence of the Old Masters, the line faded and the color took over its role. This was the period that saw\nthe creation of her works \u201cSelf-portrait with an archer\u201d, \u201cA girl with a lamp\u201d and \u201cVenus with a lamp\u201d.<\/p>\n\n\n\n
On the feast day of St. Nicolas in 1936 she visited her mother in Po\u017earevac and that was her last stay in her homeland.<\/p>\n\n\n\n
In the next two years she held solo exhibitions in the most famous galleries in Rome and Paris. As a part\nof the new generation of artists she set the artistic tone in the capital of the European and world art \u2013 Paris.<\/p>\n\n\n\n
She did not forget her roots and her childhood \u2014 together with Yugoslav artists of the time she held collective exhibitions in Paris and The Hague.<\/p>\n\n\n\n
In the wake of the Second World War, which would\nshake Europe to its foundations, in the summer of\n1939, Milena boarded a ship and sailed to America,\nto see the surrealists at the Great World Fair in New\nYork. In the first months there, she was troubled by\nthe lack of funds, her nostalgia for Europe, home\ntown of Po\u017earevac and her mother. To make a living,\nshe started doing illustrations for the popular fashion\nmagazines like \u201cThe Vogue\u201d, \u201cGlamour\u201d, \u201cHarper\u2019s\nBazaar\u201d, \u201cCharm\u201d. The illustrations are exquisite and\nradiate the spirit of her art. She also did artistic design\nfor \u201cRevlon\u201d cosmetics. She became a very sought-after\nartistic designer, as her friend Rosamund Frost, the art\nhistorian, testified. On invitation from the composer\nGian Carlo Menotti she tried her hand at scenography\n\u2013 she designed the costumes for the ballet \u201cSebastian\u201d.<\/p>\n\n\n\n
In her American period Milena painted a series of\nportraits of celebrities and royals like Swedish prince\nKarl, Austrian archduke Franz Josef and king Peter II\nKaradjordjevic. In 1939 she painted her \u201cSelf-portrait\nwith a veil\u201d and held her first American exhibition in the\ngallery \u201cJulian Levy\u201d. It was followed by another New York\nexhibition, and then a Washington exhibition in 1943.<\/p>\n\n\n\n
At her Washington exhibition she met Robert Thomas Gosselin and married him in late 1943. Next spring, she hurt her spine in a horse riding accident. She still worked hard although she had to wear a metal corset.<\/p>\n\n\n\n
Her heart stopped on March the 6th 1945 in New York.<\/p>\n\n\n\n
The urn with her remains was transferred to Rome in 1947 and laid to rest in the cemetery Cimitiero acattolico degli stranieri. Later, both her parents were interred by her side, her father Bruno Barilli in 1952 and her mother Danica Pavlovic in 1965.<\/p>","protected":false},"excerpt":{"rendered":"
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[…]<\/p>","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_uag_custom_page_level_css":"","site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center 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–…","_links":{"self":[{"href":"https:\/\/galerijampb.rs\/en\/wp-json\/wp\/v2\/pages\/963","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/galerijampb.rs\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/galerijampb.rs\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/galerijampb.rs\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/galerijampb.rs\/en\/wp-json\/wp\/v2\/comments?post=963"}],"version-history":[{"count":23,"href":"https:\/\/galerijampb.rs\/en\/wp-json\/wp\/v2\/pages\/963\/revisions"}],"predecessor-version":[{"id":1208,"href":"https:\/\/galerijampb.rs\/en\/wp-json\/wp\/v2\/pages\/963\/revisions\/1208"}],"wp:attachment":[{"href":"https:\/\/galerijampb.rs\/en\/wp-json\/wp\/v2\/media?parent=963"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}