milena pavlović-barili - catalogue

8/13/2019 Milena Pavlovi-Barili - Catalogue

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1 BARILLI


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, Vogue,15. 1940.


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4 BARILLI 5 BARILLI

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(Barilli), (Gosselin),

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, Barilli ,1962. ,

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, 1979/80, - 1993, - 1999. , - 1989, - 2002, - 2004, - 2005,, - 2006/07, , 2009/2010, ,2010. .

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opening remarksJELICA MILOJKOVI, CUTORIAL ADVISOR, MILENAS HOME

FOUNDATION, GALLERY OF MILENA PAVLOVI BARILLI

An exceptionalfigure in modernSerbian art,Milena PavloviBarilli, married

name Gosslen, was one ofthe most avant-garde and themost interesting figures on theEuropean and American artscene in the 1940s and the first

half of the 1950s, a builder ofreverie and daydreams, whomoved relentlesslyacross the realmsof her lavish artproduction, alongthe thin gossamerof dreams.

Since its firstposthumouspresentationin Serbia, heldat the BelgradeCultural Centrein 1955, MilenaPavlovi Barillisopus has not ceased to aractand intrigue people in thecultural public sphere. Manyrenowned essayists, art critics

and theoreticians have giventheir verdict on it.

However, when in the 1950sarduous work began tosystematise and study MilenaPavlovi Barillis works and themeager collection of relateddocuments and archivalmaterials, it turned out thepreserved factographic materialwas not sufficient for a firm basis

on which to build an objective,realistic image of the unusualand atypical personality of thisexceptional artist. It allowedthe outlining of her character,promising a long, painstakingprocess before a splendid mosaiccould be assembled.

Aer Milenas birth house

located in Poarevac wascoverted into a memorialmuseum in 1962 e Gallery

of Milena Pavlovi Barilli it waspossible to administer Milenasparents last will, asking to savefrom obscurity their daughters

unique opus, preserved mainlyas part of the family legacy,along with a substantial numberof items kept in museumsand private collections acrossEurope, the U.S. and Australia,so it could be protected fromdeterioration, systematised,studied and presented to thepublic.

e tendency to treat her artthrough multidisciplinary andmultinational projects, whichhas consequently made itpossible to confirm and showthe high standing of MilenaPavlovi Barillis art in Europeanas well as the world history of art,has led to a vigorous promotionof Milenas work, as shown

by representative exhibitionsheld in Belgrade, Zagreb andLjubljana, 1979/80, at the

Gallery of theSerbian Academyof Sciencesand Arts, 1993,Progress Gallery,Belgrade, 1999,as well as throughinterstate projectspresented in Parma,1989, Paris, 2002,Bucharest, 2004,Bratislava, 2005,Prague and Brno,2006/07, Rome

and Rimini, 2009/2010, andSkopje, 2010.

is year, Milenas unique art

is being presented for the firsttime to consumers of fine artsin Banja Luka and Republicof Srpska, which will helpto strenghthen additionallythe political and cultural tiesbetween the two neighbourlycountries.


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M ,, 1932.

introductionLANA PILIPOVIC, CUTOR

MUSEUM OF CONTEMPORY ART REPUBLIC OF SRPS

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,1929.

,1912.


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8 BARILLI 9 BARILLI

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LANA PILIPOVIC, CUTORMUSEUM OF CONTEMPORY ART REPUBLIC OF SRPS

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: (1926-1931), (1932-1938) (1939-1945)

introduction

, 1932.


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,1910.

...Dusky and tall, with a deep, alto voice, questioning and aractive, charming, of a breezy spirit, always elegant, in goldsandals, with a cigaree between her fingers...

LANA PILIPOVIC, CUTORMUSEUM OF CONTEMPORY ART REPUBLIC OF SRPS

introduction

The biography ofMilena PavloviBarilli, an extraordi-nary phenomenonin the Serbian

painting between the wars, wasvery different from the biogra-phies of other Serbian painters ofthe interbellum.What sets Milenas life apart

from others was that she trav-elled a lot and lived in a numberof European metropolises, whichwas quite rare for Serbian artistsat that time, who were mostlytrained in Munich and then re-turned to Serbia. Her travels ledher to scrutinise herself, bringingher new insights and a differ-ent understanding of time andspace. She inherited her love oftravel from her parents, DanicaPavlovi and Bruno Barilli, whomet while studying music at theMunich Conservatory. On thedistaff side, Milena descendedfrom the Karaorevi dynasty,and on the spear side from agreat Barilli family of artists fromParma. Even though Danicaand Bruno divorced in 1923

over different living styles, theyremained aached to each otherfor the rest of their lives, whichtheir correspondence aests to.is duality which Milenainherited from her parents andfelt strongly throughout her life,those two different cultures,two identities, one traditional,partriarchal and the otherunconventional, made an impacton her work.

She mostly found inspira-tion for her art in the works ofRenaissance painters of the 15thcentury, Mannerists, Magic Real-ists, Surrealists, as well as Spanishartists of the 16th, 17th and 18thcenturies, from whom she bor-rowed motifs or backgrounds,

which she personalised and usedto express herself as an artist.Milenas paintings, highly nar-rative, invariably inquire aboutlife; most oen she was her ownmodel and onto her paintingsshe transferred her own dreams,suffering and fantasies. Whatmakes her works unique in thehistory of Serbian painting is thepresence of subtle melancholy

and tales, poetic and confes-sional at the same time, fullof symbolism, amalgamatingthe influences of all the placesMilena visited or resided in. Herpaintings are both subtle andpassionate, fluery and obscure,inscrutable and complex.During her career as an artistshe went through several dif-

ferent phases, anxious to keepin tune with the trends of hertime. Along with painting,she made fashion illustrationsand costume designs, and alsowrote poetry in Itlaian, Frenchand Spanish. She was broadlyeducated; she knew music well,along with literature, theatre,cultural history, psychoanalytictheory, and other contemporaryphenomena, and by virtue ofthe fact she worked in differentfields and expressed herself usingdifferent means, she succeededin demonstrating her versatilityand her talent in its entirety.

Milena Pavlovi Barillis workmay be divided into threeperiods:

e Munich period(1926-1931),the Paris period(1932-1938)and the American period(1939-1945).

Danica studied music,

the piano and singing,and was highly educated;at the same time, she wasan exceptional mother,truly dedicated to Mile-na, always there to adviseher on lifes importantissues. Bruno Barilli, apoet, composer, musiccritic, travel writer, aman known by Europesart circles, was enchantedby Danicas beauty andintelligence.


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261931

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LIFE, , 1927.


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RED BOOK, , s.a.

IN THE PAD-DOCK, , 1928.

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MOONSHINE, ,1928.

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e Munich period (1926-1931)e Munich period (1926-1931)

19261931

the munich period

Aer followinga basic paintertraining pro-gramme at theRoyal School

of Art in Belgrade, which sheenrolled in at the age of thirteenand completed four years later,she went to study painting at theAkademie der bildenden Knste

in Munich, from 1926 to 1928.Her professors were Franz vonStuck and Hugo von Haber-mann, members of the MunichSecession, who were nonethe-

less too conservative for Milena,which soon led her to leave theAcademy. During this earliestperiod of her work she mas-tered the trade, painting mainlyportraits of members of herfamily, classmates and film stars,such as Conrad Veidt and RudolfValentino, and her painting ischaracterised by strict academicprinciples.

e spirit of the 1920s wasimbued with the world of cin-ematography and film glamour.e cult of actors, their charisma,their way of living and dressingwere supported by the fashionindustry, and artists readilyexpressed themselves throughfilm aesthetics. Inspired by filmglamour, Milena made Self-Portraitin a White Bonnet and

Milenas inclination toand talent for fashioncan be seen in her familyphotographs. ere aremany photographs ofthe artist and her motherDanica, of which someare conventional, whileothers show specially de-signed sets and costumes,where she herself looks

like the models she usedto draw. In her photo-graphs Milena is sponta-neous and self-confident,aware of her identity asan artist and of the wayin which she needs topresent herself.

,

, 1927.


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261931

the paintings e First Smile andModern Japanese Girlalso exudea film atmosphere. Alongsidepaintings, she drew a series offashion designs worn by elon-gated figures, simple, extremelygraceful and elegant. Model of agown made in 1926 is character-ised by subtle stylised linearit y,

which was extremely popularin the 1920s. e illustrationsshe made in 1927 and 1928had a special quality to them:interesting compositions, withan abundance of detail and inmany colours (cigaree-holders,monocles, sashes/scarves):Ladywith a monocle, Life, Moonshine,

Die Dame, Holiday,etc. esefashion illustrations are exquisitein terms of the drawing skilldemonstrated, whose qualitysurpasses Milenas realist paint-ings.With a series of stylisticallyuniform drawings, likeMaia,Iris, Sevilla, Salomes Dance,and

HOLIDAY, ,1928.

DIE DAME, ,

927.

19261931

the munich period

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Indians, Milena created her owniconography, which combinesstylised scenery, decorativewinding lines in the spirit of ArtNouveau, plenty of detail under

oriental influence, an extremevividness of the scenes present-ed, a myriad motifs and figures.ese drawings are very imagi-native and of excellent quality, in

accordance with how they wererequired to paint at the Academy,and thanks to their illustrativeand decorative qualities, they flirtwith applied art.

, , s.a.

19261931

the munich period

, , 1930.


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VOGUE, , 1927.

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e Paris period (1932-1938)e Paris period (1932-1938)

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the paris period

Aer spendingsome timein London,where she hadan exhibition,

Milena distanced herself fromtraditional academic norms orideals, and turned to new waysof expression in painting. In late1931, she arrived in Paris, where

new possibilities opened upfor her, much closer to her ownartistic affinities.

Aer spendingsome timein London,where she hadan exhibition,

Milena distanced herself fromtraditional academic norms orideals, and turned to new waysof expression in painting. In late1931, she arrived in Paris, where

new possibilities opened upfor her, much closer to her ownartistic affinities.

In Paris she met the keyfigures in the world ofculture at that time: An-dr Breton, Paul Valry,Andr Lhote, Jean Coc-teau, Giorgio di Chiricoand his brother AlbertoSavinio, Jean Cassou,

who was a iend ofBruno Barilli, her father,as well as many otherartists om all over theworld. is atmospherewas of paramount, cru-cial importance for her tostart creating her maturework.

,, 1933.

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321938

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19321938

the paris period

During this first period, Milenaturned to subjective, symbolicand confessional painting, exam-ining her inner being, both theconscious and unconscious one,and containing a mixture of feel-ings, experiences and unrequited

yearning. It was owing to thistendency, primarily to her in-sistance on elements of dreamsand visions, that she was broughtin connection with Surrealism ina broader context.What marked Milenas paintingmuch more was Magic Realism,infused with melancholy, fantasyfusing with reality, showing eve-ryday situations in a somewhatforbidding manner and achieved

through a highly controlledorganisation of elements in thepainting, its architecture, choiceof colour, etc.e paintings Milena created inand aer 1932, such as Torso witha Wing, Torso with a Mask and

Black Arm, Fantastic Compositionwith Two Faces, and Woman witha Winged Naked Man in a Hat,show imaginary spaces withlavitating columns from ancienttemples, womens veiled faces,winged young men, fans, birds,flowers, which, evocative of rev-erie, blend into one another andcreate an impression of incom-pleteness. Fluery visions fullof symbolic elements indicate

these must have been the artistsearlier first-hand experiences andher own inner restlessness, asher own tribulations and dreamsare reflected in her paintings.Colours of greater intensity aremissing, resulting in an atmos-phere of languour, the petrifiedand supernatural.Most of the figures are without

arms or have wings instead ofthem, which is symbolic of herdesire to grow and rise spir-itually. ese images of poetic,intimate confessions are mainlyso blue in colour, with shadesof pale roseate and gray, whereonly contours are accentuated.Blue backgrounds suggestive ofcelestial infinity feature featheryclouds, a motif appearing in the1930s painting.

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e second part of her matureperiod began in 1935, whenshapes in her paintings becamemore compact, her drawingmore solid, and the coloursused thicker and more intensive.e artist moderated the earliersentimentality in her work andturned to the poetics of meta-physical painting. e delicate

figures and rhythmical draperiesin her metaphysical paintings arereminiscent of antiquity; also,

Milena found inspirationin the works of old mas-ters Fra Angelico, Pierodella Francesca, Titian,

Boticelli, whose worksshe oen paraphrased.Motifs om antique artwere very popular inParis in the 1920s andthe 1930s and broughtback the great masters,order and figuration.

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she used elements of Renais-sance architecture to create amysterious atmosphere.She oen made self-portraits

19321938

the paris period

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and gave her face to other peopleportrayed in her paintings. Allher figures share the same physi-ognomy, such as an elongatedface and nose, almond-shapedeyes and a small mouth; also,she introduced a number ofrepetitive elements, like lampsor levitating figures, to create

her own iconography. From1929 onwards, she increasinglycreated works showing her ownface painted in two distinct man-ners, of two different charactersor psychological models. iswas another thing for which sheturned to Renaissance paint-ing, with artists showing double

faces, as an allegory of two inter-acting cosmic powers creating abalance.Some of the master-piecescreated aer 1935 are Girl witha Lamp, Venus with a Lamp, Self-Portrait with a Brush, Self-Portraitwith an Archer, Madonna,andComposition.


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the american period

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, , , ( ): Vogue, Townand Country, Harpers Bazaar,Charm, Glamour, McCalls,House beautiful, Textron, Hanes

Hosiery, Bonwit Teller, Lord andTeylor, Mary Dunhill, Rev lon,Himmelhochs . Vogue

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the american period

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BRIGHT STAR FOR HERCHRISTMAS TREE,

Vogue, 1. 1944.

POETIC PINCS ANDREDS,Vogue, 1941.


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ESCAPE,TOWN&COUNTRY,1943.

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*Gian CarloMenoi

19391945

the american period

HOT PINK WITHCOOL GrY,VOGUE,15. 1940.


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e American period (1939-1945)

,

, 1940.

19391945

the american period

Just before the outbreakof World War II, Milenajoined many Europeanartists for a visit to theWorlds Fair in New

York, where a retrospective exhi-bition of Surrealist art was held.Most of the artists who emigrat-ed went into fashion illustrationand other kinds of commercial

design to make a living, and their

work greatly contributed to thevisual appeal of American maga-zines. ose illustrations thusbecame stylish, sophisticatedand artistic, and the illustratorsthemselves became speciallyappreciated, remaining so untilthe mid-1950s, when fashionphotographers took over.

Some of the artists whodid commercial designwere Ren Magrie,

Giorigio de Chirico,Max Ernst, Jean Coc-teau, and many others.

, , 1929.


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391945

e last period in Milenas workwas also related to commercialdesign, as well as highly stylisedportraits, which took her back toacademic painting.Although she drew on heraristocratic descent and herfathers family name, it wasmainly Milenas personal abilitiesthat brought her the connec-tions that enabled her to paintportraits of upper-class NewYorkers and royal exiles in theU.S., such as Archduke JosephFranz of Austria, Prince Carl ofSweden, Petar II Karaorevi,Gian Carlo Menoi, PrinceFaradin of Turkey, Barbara Mal-

lory, the Moffa family, Rosa-mund Frost, etc. e people inher portraits are presented asidealised characters in imaginaryspaces, with the Renaissancedivision of the painting into theforeground and background,with the background most oentelling a story that can be linkedto the person portrayed in theforeground. e painting is deli-cate, unrealistically planar and

*,, 1940.

*, , 1942.

* Yale University Art Gallery, New Hawen Connecticut, USA 19391945

the american period

highly melancholy; the artistssophisticated technique and thedetails she created painstakinglyare particularly stressed.One of the first paintings shemade in the U.S. was the 1936Self-Portrait, which best demon-strates this change in style, mostprobably arising from the atmos-phere of her new surroundingsbeing so markedly different. eperspective in Architects is thatof Renaissance painting, onlythis time without any elementssuggesting it is a personal confes-sion, or giving her own facialfeatures to the faces por trayed.Like never before, she cre-

ated several works on religiousthemes, such asJohn the Evange-list,Angels and Child, andPsalm18, emanating deep spiritualdevotion. Contrary to her earlierportrayal of St. Johnas wearyof fighting temptation,John theEvangelistis in a pensive, medita-tive mood, and the representa-tion of his eagle symbol is highlysophisticated.

... II*,

, 1942.


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One of the most momen-tous events in Milenascareer as an artist washer exhibition at theJulien Levy Gallery in1940, whose owner wasone of Americas most

influential gallerists inthe early 20th century.He opened his galleryin Manhaan in 1931,where he was the firstto show European art-ists, especially Surrealistpainting and film. Someof those artists wereMarcel Duchamp, ManRay, Alberto Giacomei,Arshile Gorky, HenriCartier-Bresson, Fer-nand Lger, Max Ernst,Ren Magrie, Constan-tin Brncui , SalvadorDali, Frida Kahlo, andothers.

, , 1942.

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the american period

Also important areMilenas portrait pho-tographs made by CarlVan Vechten in 1940(writer and photogra-pher, music critic for NewYork Times, who made aseries of portraits of celeb-rities in the 1930s), oneof which was a portraitphotograph with a zep-pelin, Milenas favouritemotif in the Americanperiod.

18 , , 1942.

, , 1942.


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391945

Along with painting, Milena alsoworked for top fashion maga-

zines, magazines on interior andexterior decoration, as well as bigfashion houses (cosmetics andtextile manufacturers): Vogue,Town and Country, Harpers Ba-zaar, Charm, Glamour, McCalls,House Beautiful, Textron, HanesHosiery, Bonwit Teller, Lord andTeylor, Mary Dunhill, Rev lon,Himmelhochs, etc. Milenasillustrations for Vogue are themost interesting, as back then

they suited perfectly the specialcharacter of the magazine.

ese illustrations are gracefuland sophisticated; essentially,they feature the same elementsas Milenas enigmatic composi-tions created in the Paris period,like bright colours, levitatingfigures, veils, lamps, windows,etc. She adapted the style of ad-vertisements to incorporate herown painting style, introducingelements such as the Renais-sance atmosphere, perspective

and painting division into theforeground and background;Manneristic influences arevisible in Model of an evening

TOWN&COUNTRY, 1941.

LItLE PINK ANGEL,HARPERS BAZAAR,1944.

VALENTINE FRILLSFOR YOU,HARPERSBAZAAR,1945.

19391945

the american period

gown made in 1939, and Poeticpincs and reds, with fashionaccessories, is set against two-ground Renaissance scenery.Her greatest success in fash-ion design was the design ofcostumes for the ballet Sebastianby Gian Carlo Menoi (anAmerican composer of Italiandescent) made in 1944. It was

also Menoi whom she gave herlast painting,Nun, and who laterwrote and dedicated an operato Milena, titled e Saint ofBleecker Street. is painting,which shows a nun with herarms raised in prayer, rounds offher work as an artist: the shapesare undisturbed, simplifiedand closed and the colours aresimple.Milenas career ended thesame way it began; it was againportraits and fashion illustra-tions she made, except that herfinal series shows a great masteryof painting and a well-defined,recognisable style. In terms ofquality, which is exquisite, allworks created in the Americanperiod may be classified as

highly aesthetised art.It may be assumed Milenawould have continued to be aprofilic artist, who would havereadily used all kinds of mediato express herself, as she did notonly keep pace with the time shelived in, but was also a step aheadof it.

,, 1940.:


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391945

Speaking about the Serbian artscene, Milena Pavlovi Baril liswork aracted the aention itdeserves rather late, in the mid-1950s. Although the beginningof her career can be linked toPoarevac and Belgrade, mostlydue to her exhibitions and hermembership in the art groupLada, Milena did not follow

the trends in Serbian paintingand did not win recognition.Aer she failed to get a job inSerbia and Macedonia, shebuilt her career, resolutely andsuccessfully, in Paris, Rome andNew York. Aer World War IIand her untimely death, a hugeeffort was needed to rectify thepast neglect, given the fact she

was ideologically unsuitable andpopular in the West. Owing toher mother Danicas persistenceand Miodrag Protis efforts,e Gallery of Milena PavloviBarilli was opened in her birthhouse in Poarevac on 24 June1962. Today, it houses man ofher paintings, drawings, personalitems and leers.

HANES HOSIERYINC.,VOGUE,,1944, Harpers Ba-zaar, 1944.

ESCAPE,VOGUE, 1945.

19391945

the american period

PRECISION TAILOR-ING FOR WARSNECESSITIES,HARPERS BAZAAR,1945.


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1909

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1910

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1912-1915

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1916

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1917-1918

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1921-1922

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1922-1925

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1926-1927

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, 1914.

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MILENA PAVLOVI BARILLI

biography

.

1928

1928. . . . 16. , , .

1929

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. .

, , . .

1930

13. . , , , . , , , , . , , . . .

1931

Bloomsbury Gallery . . , 1939. .

1932

Galerie Jeune Eu-rope . : , ,

, , . GalleriadArte , , . Galerie Jeune Europe . 15. .

1933-1934

SaladArte de La nazione. , , . 1934. Kvadrivio.

, , , 1927.

, 1929.

, 1932.

,1932.


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XII Salon des Tuilerie .

1935-1936

II Quadriennaledarte Nazionale . , 1937. Galleria della Cometa . . 1936. .

1937-1939

Galleriadella Cometa . , . 1938. Quatre Chemins . . Galerie Billiet Nouvellegeneration. , .

1938 1939. . 1939. GaleriePioresque Lexposition de nouvellesurrealisme, Galerie Bernheim Jeune , . 1939. De Grasse , II . Vogue .

1940-1942

Julien Levy Gal-lery 1940. .

, :Glamour, McCalls, Harpers Bazaar, HouseBeautiful, Town & Country, Revlon . .

1943

United Yugoslav relief Fund , Corcoran Gallery . . , 1943. .

1944

. Mounte Kisco . , . .

1945

. 6. .

1947

5. 1949. Cimitero acat-tolico per gli stranieri, . Testaccio . , . XIX ,

UNITEDYUGOSLAV RELIEFFUND ,1943.

, 1936.

, 1938.

, . , , , . ...


biography

1909

Born in Poarevac on 5 November, asDanica Pavlovi and Bruno Barillis onlychild.

1910

Leaves for Rome with her parents. Returnsto Poarevac with her mother five monthslater.

1912-1915

Spends the summer of 1912 and 1913 inPesaro with her mother, aer which theyreturn to Poarevac, just before the outbreak

of World War I. In mid-1915, leaves for forRome with her mother.

1916

Finishes the first year of primary school inBergamo. Aends the second year of school

in Rome, then leaves for Nice with hermother to learn French.

1917-1918

Aends the second year of primary schoolat the Italian-English Institute in Romeuntil July 1918, then continues school inPoarevac.

1919

Completes the third and fourth years of p ri-mary school in Poarevac in one year, thenenrolls in the Gymnasium. Experiences firstheart problems.

1921-1922Removed from the Gymnasium in the sec-ond year. Leaves for Linz with her mother.Travels around Carinthia in the summer.Aends classes at a Graz nunnery fromSeptember 1921 to July 1922, where shelearns German.

1922-1925

Enrols in the preparatory class of BelgradesArt School in the autumn of 1922, whichshe completes in June 1923. Passes second-year examinations at the Poarevac Gym-nasium. Danica and Bruno get a divorce.In June 1925, passes fourth-year examina-tions at the Second Girls Gymnasiumin Belgrade. Aends school in Belgradewhile Danica works at King AlexanderKaraorevis court, first as a clerk in theRoyal Decorations Office, then as the RoyalCourt Superintendant.

1926-1927

Graduates from Art School, where sheexhibits her work for the first time at theend-of-year school exhibition. Leaves forMunich and aends a preparatory classbefore applying to the Academy of FineArts. Spends May, June and July of 1927 inNice and Cannes, returns to Poarevac in

August.In October 1927, matriculates in the Aka-demie der Bildenden Knste, joins HugoHabermanns class. Moves to Franz vonStucks class in the second semester.

1928

Drops out of the Academy in June 1928.Spends the summer in Paris, visits theLouvre. Returns to Poarevac in search ofa job, but fails to find one. Holds her firstsolo exhibition at the Journalists House inBelgrade on 16 December, receives favour-able reviews from Sreten Stojanovi, GustavKrklec and Branko Popovi.

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for the exhibition to be held at the Galleriadella Cometa in Rome in January 1937.Milenas last visit to Serbia. Leaves for Romein December 1936.

1937-1939

Solo exhibition at the Galleria della Cometain Rome in April. Leaves for Paris, butreturns to Rome in the autumn. In Januaryand February 1938, holds a solo exhibitionat the Quatre Chemins Gallery in Paris.Ambassador of the Kingdom of Yugosla-via puts on a solo exhibition in Tirana inMarch. Exhibits at the Galerie Billiet inParis with the group Nouvelle generation.Spends the summer in Venice, then inSeptember visits Bergamo with mother forthe opening night of her fathers new operaMedusa. Spends the late autumn of 1938and a part of the winter of 1939 in Oslo.In March 1939, exhibits at the GaleriePioresque, in Lexposition de nouvellesurrealisme, followed by a group exhibitionwith Paris-based artists originally from

1929

Joins the Lada art association. Holds anexhibition at Krstas House in Poarevac.Exhibits in the First Spring and Second Au-tumn Exhibitions at the Cvijeta ZuzoriPavillion in Belgrade. Spends the summerin Slovenia, in Rogaka Slatina, Jezerskoand Bled, then leaves for Prague. Returnsaer having contracted typhus and spinalabscess.

1930

Exhibits in Ladas 13th exhibition. Leavesfor Spain aer failing to find empoyment asan art teacher in Poarevac, tip, Veles andTetovo. Visits Barcelona, Malaga, Sevilla,

Granada, Cordoba and Madrid. Undergoesa surgery in the German hospital in Madridin May, then in June leaves for Paris, wherethe surgery is repeated.Leaves Paris to go to London. Stays inLondon for a year and a half.

1931

Holds a solo ex hibition at LondonsBloomsbury Gallery in February. Meetswriter Sibet Milii; they become friends.Leaves for Paris in the autumn, where shestays, with intermissions, until 1939.

1932

Has a solo exhibition at the Galerie Jeune

Europe in Paris. Becomes acquainted withmany artists and writers: De Chirico, AndrLhote, Paul Valry, Andr Breton, AlfredKubin, and others. In October, she showsher work at Romes Galleria dArte, whereshe meets her great love, pianist RodrigoGonzales. Participates in group exhibitionsat the Galerie Jeune Europe in Paris, inspring and autumn. Participates in Ladas15th exhibition in Belgrade.

1933-1934

Exhibits at Florences Sala dArte de La na-zione in April. Returns to Paris, stays thereuntil summer, then leaves for Poarevac.Returns to Paris in October 1934. Publishespoetry for the first time in the Italian maga-zine Quadrivio. Participates in the XII Salondes Tuilerie in Paris.

1935-1936

Exhibits in the II Quadriennale darte Nazi-onale in Rome in February. Visits Poarevacin the summer, where she prepares works

JEUNE EUROPEGALLERY, , ,29. 1932.


biography

,1942.

, 1932.

, 1938.

Yugoslavia at the Galerie Bernheim Jeune.e same exhibition is put on in e Haguein June.In August 1939, takes the boat De Grassefor New York, and is there at the outbreakof World War II. Looks for work to supp ortherself, and already draws the model of anevening gown for the December issue ofVogue.

1940-1942

Has a solo exhibition at the Julien LevyGallery in New York in 1940. Works forbig fashion houses and fashion magazinesas an illustrator, such as Glamour, McCalls,

Harpers Bazaar, House Beautiful, Town &Country, Revlon, etc. Simultaneously paintsportraits of notable New Yorkers.

1943

Exhibits at the United Yugoslav Relief Fundin New York, followed by WashingtonsCorcoran Gallery. Draws sketches ofcostumes for the ballet Sebastian by GianCarlo Menoi.Paints a portrait of Robert omas AstorGosslen, who she marries secretly in NorthCarolina in December 1943.

1944

Falls off a horse and injures her spine in thespring. Goes to Mount Kisco, New York, for

rehabilitation. Works hard during recovery,despite the metal corset covering the upperpart of her body.Hails the liberation of Belgrade via RadioNew York.

1945

Commissioned scenery for William Shake-speares A Midsummer Nights Dream fora New York theatre. Dies suddenly at herNew York apartment on 6 March.

1947

Milenas earthly remains were brought toRome in an earn and buried at the Cimitero

acaolico per gli stranieri on 5 August 1949,where her parents were also buried later.Testaccio is considered the final restingplace of poets and painters, and the worldsmost beautiful cemetery. People from allover the world, of different religions andsocial statuses, lie at this cemetery. In the19th century, it served as an inspiration tomany painters, as it is located in an idyllicarea; also, poets such as Goethe and Shelley

,, 1943.wrote about it. ere is an Association of

Friends of the Cemetary who take care ofits tombstones and vegetation, research thelives of the interred and organise guidedtours around this most incredible place,where people can learn about the influentialand renowned people lying there, creatorsof the worlds cultural history.is poetic graveyard was the best place forMilena Pavlovi Barilli to end the journeyof her life.


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milena pavlović-barili - catalogue

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