Old Porcelain Von Hand in Öl gemalt, Pinselstrich für Pinselstrich

early life and education

Milan Konjović Милан Коњовић (1898 - 1993) was born in Sombor, Serbia. His artistic journey began with studies in various countries abroad, which laid the foundation for his diverse style. He finished elementary and secondary school in Sombor between 1904 and 1916. In 1914 he had his first exhibition featuring around fifty of his works painted in nature. In 1919 he enrolled at the Academy of Fine Arts in Prague, in the class of Vlaho Bukovac. After two semesters he continued his studies independently. Avant-garde Czech painter Jan Zrzavý recommends him to study Leonardo, while later he leaves first to Vienna, followed by study trips to Munich, Berlin and Dresden in 1923. He arrived to Paris in May 1924 with Ema Maštovska, his future wife he met in Prague in 1924, remaining in the city until 1932, when he returned to Sombor to stay. In Paris, he achieved notable success in independent exhibitions and taking part in the Paris salon exhibitions. This is where his “blue phase” emerges (1929 - 1933). He followed the red period from 1934-1940 and gray period from 1945 to 1952. Konjović participated in several Parisian exhibitions and exhibits in 1931 in Bing & Co. gallery and in 1932 at the Van Leer gallery. Then he exhibited in 1937 at the Galerie Mouradian- Vallotton. His works are presented in numerous exhibitions around the world, including New York, London, Moscow and Prague.

artistic periods and recognition

Konjović’s works can be divided into six distinct periods of artistic style, reflecting his eclectic approach to art. This long life's work earned him many recognitions as well as a place in the Serbian Academy of Sciences and Arts (Srpska akademija nauka i umetnosti, SANU). His style, though varied, often incorporates elements of modernism, reflecting the artistic currents of his time. He studied in many countries abroad, which laid the foundation for his diverse style.

parisian influence (1924-1932)

Living in Paris from 1924 to 1932, Konjović was exposed to the vibrant art scene, which significantly influenced his work. This period is marked by a shift towards more expressive and experimental pieces. Avant-garde Czech painter Jan Zrzavý recommends him to study Leonardo, while later he leaves first to Vienna, followed by study trips to Munich, Berlin and Dresden in 1923. He arrived to Paris with Ema Maštovska, his future wife he met in Prague in 1924, remaining in the city until 1932, when he returned to Sombor to stay. In Paris, he achieved notable success in independent exhibitions and taking part in the Paris salon exhibitions. This is where his “blue phase” emerges (1929 - 1933).

notable works and style

His medium of choice was oil on board and oil on canvas, showcasing his versatility. He followed the red period from 1934-1940 and gray period from 1945 to 1952. Konjović participated in several Parisian exhibitions and exhibits in 1931 in Bing & Co. gallery and in 1932 at the Van Leer gallery. Then he exhibited in 1937 at the Galerie Mouradian- Vallotton. His works are presented in numerous exhibitions around the world, including New York, London, Moscow and Prague. He was called “the last of the wild” because of his expressive style and his palette of bright colors.

legacy and remembrance

Milan Konjović Милан Коњовић (1898 - 1993) was a Serbian painter of the School of Paris. He began his studies at the Academy of Fine Arts in Prague in 1919 in the class of Vlaho Bukovac and then he decided to continue by himself. His long life's work earned him many recognitions as well as a place in the Serbian Academy of Sciences and Arts (Srpska akademija nauka i umetnosti, SANU). He took part in more than 300 independent and around 700 group exhibitions in the country and abroad. He was appointed a regular member of Vojvodina Arts and Sciences Academy in 1979, a corresponding member of Yugoslav Academy of Arts and Sciences in 1986, and regular member of Serbian Academy of Sciences and Arts in 1992. His contributions to the SANU serve as a testament to his enduring legacy.