Artworks in the Collection

Daydreaming (1938)

The importance and intensity of the undisguised feeling of melancholy in Peđa Milosavljević remain unchanged, regarding the Parisian roofs or female figures silently standing on balconies or some intimistic atmosphere of an interior. Capable of poeticizing the mundane, Peđa placed an imaginary female figure into a not entirely defined space. Lightly leaning on her right arm, her left arm slightly limp and resting in her lap, this young lady, at least we get such an impression, willingly surrenders to moments of contemplation, “wandering” thoughts which take her far away to the world of dreams and memories. And yet, she does not dream, but, as the painter himself stressed in the very title of the painting, it is her reverie with a certain poetic, harmless quality. There is no tone of apathy in this melancholy. Surrendering to it she is aware of the antagonism of permanence and transience. This is also suggested by the petals of dried-up flowers on the table in front of the girl. And while, on the one hand, the contents of the painting captivate the viewer with its charm, on the other hand it excites him by the very manner of its creation. It was during his first Paris period Peđa’s brushstrokes became swifter and quicker, which could be attributed to the fact that, instead of a brush, he was using the palette knife more and more often, applying paint in broad strokes. Thus he followed the advice of his teacher, Jovan Bijelić, who had told him to “paint whatever he wanted, with anything at all, even his fingers if that pleased him, on anything and with any kind of paint.”

Predrag Peđa Milosavljević