Artworks in the Collection

My Studio (1930)

Pavle Beljanski purchased this painting from Konjović in the same year it was painted in Paris in Rue Montsouris (today Rue Paul Fort) in the 14th Arrondissement, where the painter moved with his family in the spring of 1939. “There were three studios in the house, the height of the studios was six meters. When I returned to Sombor in 1932, Peđa Milosavljević used the studio. The architect was Marcel Zielinsky, a Pole and student of Le Corbusier. On a visit to
Zielinsky (Zielinsky did his house too), Derain saw the painting and said that the painter was very good,” remembered Konjović in 1987. This canvas, which chronologically belongs to the artist’s “blue period” (1930–1933), retained some characteristics of the earlier “transitional period” (1927–1929). The rug in the center of the painting is dominated by pastose and playful brushstrokes and an accentuated facture as characteristics of his “blue period”, while linearism is dominant in other objects, pieces of furniture, paintings set aside, the easel. The contours are closed, the painted surfaces smooth, sometimes even transparent. The artist demonstrated his infallible sense of colour in a small detail on the canvas as well, a colouristic accent of fruit in a bowl in the lower left corner resolved in neutral colours. The figure along the left edge of the canvas has its own interesting story: “I found that sculpture in an abandoned little church near Cassisse; this church was, I suppose, a fishermen’s church. I wrapped the statue in my bathrobe and
brought it back like that. It was carved in wood and painted. The sculpture remained in my Paris studio. I also painted it as an entire figure; this painting is in the Museum of Modern Art in Belgrade. The figure remained in Paris,” recounted Konjović. The painting My Studio was signed in French transcript, as Konjović signed his name from 1929 to 1940; then he changed it to a Cyrillic signature.

Milan Konjović