Artworks in the Collection

In the Park (1944)

Peđa Milosavljević arrived in London in July, 1942 and settled down in the very center of Kensington, not far away from the famous park. There he spent time with Oskar Kokoschka and used to tell him about the beauty of our mediaeval frescoes. Art historians are even tempted to notice a similarity between Peđa’s palette and that of an anonymous master from the Sopoćani monastery. The composition of In the Park or Kensington Park, as it is mentioned elsewhere, demonstrates this very analogy expressed in the cool green shadows which are reminiscent of the mediaeval modelling and cause this melancholy almost typical of the way of thinking and life at that time. After leaving Paris, our painter also changed the way he worked. In the painting entitled In the Park, as in all the others produced in London, there are no firm and stable forms or clear structures. Having consciously rejected these, Peđa was trying to create a charming, quiet, almost pastoral atmosphere, which was quite the opposite of what could be seen in the streets of London. That is exactly what parks are for. Time spent in such surroundings provides us with a certain escape from the hustle and bustle of the city, especially in a metropolis such as London: the girls that Peđa placed in such scenery are resting, reading, having casual conversations. At the time the painting was created, the winds of war were raging relentlessly over Europe, and such an enchanting image seems like a dream about Paradise regained. Near the end of the war, German bombs destroyed Peđa Milosavljević’s studio in London and destroyed almost the entire cycle of works produced during his stay in the city. The composition entitled In the Park is one of the few that survived the event.

Predrag Peđa Milosavljević