Artists in the Collection

Predrag Peđa Milosavljević
(Lužnice near Kragujevac, 4 February 1908 – Belgrade, 25 January 1987)

Predrag Peđa Milosavljević stepped into the world of art in a confident and determined way in spite of his modest artistic training acquired first with Hristifor Crnilović, a professor of drawing, and later with the extraordinary painter and pedagogue, Jovan Bijelić. As a lawyer he joined the diplomatic corps, and the time he spent in Yugoslav embassies
in Paris, Madrid and London was of crucial significance in the forming of his artistic ideas and creating his authentic artistic expression. His artistic world, which had an air of honest poetics, was further expanded by his boyhood spent in his native Šumadija, his youth spent in Macedonia, his walks in Dubrovnik and the time when he finally settled down in then cosmopolitan Belgrade, where he took active part in the cultural life, where he painted and wrote. Colour also played an important role in his deeply personal lyrical pattern. The reduced palette in the deliberately narrowed-down scale of gray and green tones further strengthened Peđa’s story about time, transience and the intertwining of the organic and the inorganic. Several cycles can be singled out from the two most prolific decades of Peđa’s artistic
work (1936–1956): the Paris roofs cycle, the Dubrovnik cycle, the cycle of young women, the cycle of phantasmagoric compositions… The beginning of his painting activities can be tied to the Second Spring and later the Third Autumn Exhibition in 1929, when his displayed pieces foreshadow the creation of a personal and subtle poetic model. After that came his trip to Paris, the time spent in London during World War II, a brief Madrid episode, days spent at the South Adriatic coast, above all in the eminently inspirational city of Dubrovnik. His entire opus was done in a completely lyrical and poetic manner, with no discontinuities or declines, regardless of the techniques (oil, watercolour or collage) or his view: whether he observed the world from the tall Parisian roofs, standing firmly on the ground, on some rock, or from somewhere on the open sea.