ARHEOLOGIJA I

PRIRODNE NAUKE

ARCHAEOLOGY
AND SCIENCE
 Center for New Technology
Institute of Archaeology Belgrade

ARCHAEOLOGY
AND SCIENCE
15
2019

Belgrade 2019
 Centar za nove tehnologije
Arheološki institut Beograd

ARHEOLOGIJA I
PRIRODNE NAUKE
15
2019

Beograd 2019.
 Published:
Center for New Technology Viminacium
Institute of Archaeology Belgrade
Kneza Mihaila 35/IV
11000 Belgrade, Serbia
e-mail: [email protected]
Tel. +381 11 2637191

For the publishers:

Miomir Korać
Vladimir Miletić

Editor-in-chief:
Miomir Korać

Editorial Board:
Roksana Chowaniec, University of Warsaw, Institute of Archaeology, Warsaw
Gianfranco Cicognani, Central European Initiative (CEI-ES), Trieste
Rosemarie Cordie, Archäologiepark Belginum
Eric de Sena - Manhattan College, New York, USA.
Snežana Golubović, Institute of Archaeology, Belgrade
Natalia Goncharova, Lomonosov Moscow State University, Moscow
Gisela Grupe, Ludwig-Maximilians-Universität, München
Michaela Harbeck, Staatssammlung für Anthropologie und Paläoanatomie, München
Lanfranco Masotti, Universita’ di Bologna, Bologna
Žarko Mijailović, University of Belgrade, Faculty of Mathematics, Belgrade
Milan Milosavljević, University of Belgrade, Faculty of Electrical Engineering, Belgrade
Dragan Milovanović, University of Belgrade, Faculty of Mining and Geology, Belgrade
Zoran Obradović, Temple University, Philadelphia
Zoran Ognjanović, Mathematical Institute, Belgrade
Marco Pacetti, Universita’ Politecnico delle Marche, Ancona
Slaviša Perić, Institute of Archaeology, Belgrade
Milica Tapavički-Ilić, Institute of Archaeology, Belgrade
Dejan Vučković, University of Belgrade, Faculty of Mining and Geology, Belgrade
Zsolt Zolnai, University of Wisconsin - Madison, Madison
Olivera Ilić (secretary), Institute of Archaeology, Belgrade

Translation:
Aleksandra Goldberger
Jelena Vitezović

Lecturer:
Dave Calcutt

Graphic design:
Nemanja Mrđić

Print:
Digital Art Company Beograd

Printed in:
500 copies

ISSN 1452-7448
 Izdavači:
Centar za nove tehnologije Viminacium
Arheološki institut Beograd
Kneza Mihaila 35/IV
11000 Beograd, Srbija
e-mail: [email protected]
Tel. +381 11 2637191

Za izdavače:
Miomir Korać
Vladimir Miletić

Urednik:
Miomir Korać

Uređivački odbor:
Roksana Hovanjec, Univerzitet u Varšavi, Arheološki institut, Varšava
Đanfranko Čikonjani, Centralnoevropska inicijativa (CEI-ES), Trst
Rozmari Kordi, Arheološki park Belginum
Eric de Sena - Manhattan College, New York, USA.
Snežana Golubović, Arheološki institut, Beograd
Natalija Gončarova, Moskovski Državni Univerzitet Lomonosov, Moskva
Gizela Grupe, Ludvig-Maksimilians-Univerzitet, Minhen
Mihaela Harbek, Zbirka za antropologiju i paleoanatomiju, Minhen
Lanfranko Masoti, Univerzitet u Bolonji, Bolonja
Žarko Mijailović, Univerzitet u Beogradu, Matematički fakultet, Beograd
Milan Milosavljević, Univerzitet u Beogradu, Elektrotehnički fakultet, Beograd
Dragan Milovanović, Univerzitet u Beogradu, Rudarsko-geološki fakultet, Beograd
Zoran Obradović, Univerzitet Templ, Filadelfija
Zoran Ognjanović, Matematički institut, Beograd
Marko Paćeti, Politehnički univerzitet Marke, Ankona
Slaviša Perić, Arheološki institut, Beograd
Milica Tapavički-Ilić, Arheološki institut, Beograd
Dejan Vučković, Univerzitet u Beogradu, Rudarsko-geološki fakultet, Beograd
Zolt Zolnaj, Univerzitet u Viskonsinu - Medison, Medison
Olivera Ilić (sekretar), Arheološki institut, Beograd

Prevod:
Aleksandra Goldberger
Jelena Vitezović

Lektor:
Dejv Kalkat

Dizajn i tehničko uređenje:

Nemanja Mrđić

Štampa:
Digital Art Company Beograd

Tiraž:
500 primeraka

ISSN 1452-7448
Korice:
Prednja strana: Kompozicija sa ženskom figurom i stubovima,
savremena fotografija ambijenta arheološkog parka Viminacijum
(fotografija Nemanja Mrđić)
Zadnja strana: “Kompozicija sa ženskom figurom i stubovima”,
slika Milene Pavlović Barilli (Galerija Milene Pavlović Barilli)

Book cover:
Front cover: Subconscious mutual connection of the archetypes and
unconscious acts, both well known in surrealism and recognized in
the painting “Composition with a Female Figure and Columns”
can be also noticed in the ambient of the contemporary building in
Viminacium Archaeological Park (photo by Nemanja Mrđić).
Back cover: Milena Pavlović Barilli: “Composition with a Female
Figure and Columns”, 1933 (reproduction from the Milena
Pavlović Barilli Gallery).
 Contents / sadržaj

Rasprave i članci
Treatises and Articles

Christy Emilio Ioannidou Could a Trireme Transports War Horses: The Misunderstanding Behind the
Interpretation of the Ancient Greek Term ἱππαγωγά “Hippagoga”..............9

Manousos Kambouris The Hypaspist Corps: Evolution and Status of the Elite Macedonian In-
George Hliopoulos fantry Unit...............................................................................................19
Spyros Bakas

Ljubiša Vasiljević Archaeological Testimonies From the Ancient Period Related to the
Knowledge and Use of Healing Springs in Eastern Serbia......................31

Olivera Ilić Roman Agriculture: A Case Study From Viminacium and its Surround-
ings..........................................................................................................43

Milan Milovanović The Grac – Gornjak Spring Archaeological Site in the Gornjak Gorge.....53

Mirjana Vojvoda Nero Tetradrachm Minted in Alexandria.................................................71

Jelena Anđelković Grašar Milena Pavlović Barilli’s Pictorial Poetics and Viminacium Landsca
Emilija Nikolić pe.............................................................................................................77

Predrag Škundrić Implementation and Management of Security Information and Event Man-
Vanja Korać agement Tools in Information Systems Through the MSSP Model...........99
Zoran Davidovac

Prikazi
Reviews

Ljubiša Vasiljević Anđelka Putica, Viktorija Uzelac, So-arheo 2012, rezultati zaštitnih ar-
heoloških iskopavanja na trasi gasovoda u opštini Sombor (katalog izlo-
žbe)........................................................................................................107

Ljubiša Vasiljević Cult and votive monuments in the Roman provinces, Proceedings of the
13th International Colloquium on Roman Provincial Art, Bucharest −
Alba Iulia − Constanta...........................................................................111

Guidelines for Submitting Manuscripts for the Periodical Arheologija i

Prirodne Nauke (Archaeology and Science).........................................117

7
Anđelković Grašar and Nikolić - Milena Pavlović Barili...(77-97) Archaeology and Science 15 (2019)

JELENA ANĐELKOVIĆ GRAŠAR UDC 75.071.1

Institute of Archaeology 75.046.9
Belgrade, Serbia
E-mail: [email protected] Original research article
Received: 25th October 2019
EMILIJA NIKOLIĆ Accepted: 15th November 2019
Institute of Archaeology
Belgrade, Serbia
E-mail: [email protected]

miLena paVLoViĆ BariLLi’s piCtoriaL poetiCs

and viminacium landscape
absTracT

Since the effects of a landscape go further than geography and beyond the time line, this paper
questions the possibility that the Viminacium landscape, the archaeological area near the Danube in
Serbia, inspired the art of the internationally recognised painter and poet Milena Pavlović Barilli. One
can try to trace the relationship between Viminacium and Milena’s art primarily in the motifs that are
associated with Antiquity. Architectural elements, statues or human figures that resemble statues, as
well as compositions that refer to the mythological patterns are an indicative part of Milena’s pictorial
poetics. The greatest influence of ancient material and immaterial heritage on Milena’s art is visible in
paintings and drawings from the 1930s.

keyWords: miLena paVLoViĆ BariLLi, antiquity, ViminaCium, surreaLism,

LandsCape, paintinG, poetiCs.

inTroducTion1 landscapes are always related to their religious,

artistic and cultural meanings. One of the deepest
Whether talking about the UNESCO category human needs is that for “a sense of identity and
of the associative cultural landscape (UNESCO belonging”, and is found commonly in the land-
2019, Annex 3, par. 10), the inspirational land- scape seen with the eye, but interpreted with the
scape as a category developed by certain heritage mind, as was written by Kan Taylor (Таylor 2008,
organisations (Brown 2008, 2; Context Pty Ltd 1). For the painter Milena Pavlović Barilli (1909 -
2003; Beazley 2004, 1-14; Deacon and Beazley 1945), the landscape that she was related to in the
2007, 93-108; ICOMOS 1995; ICOMOS-IFLA previously mentioned way was the wider area of
2017, 33, 60; US-ICOMOS 2004) or the different the archaeological site of Viminacium, once a Ro-
interpretative landscape categories proposed by man city and legionary fortress, founded in the 1st
anthropologists (Knapp and Ashmore 1999, 1-30), century AD, whose protected remains today lie in
descriptions of these experiential and imaginative the territories of the Kostolac and Drmno villages
in Serbia (Fig. 1), presented within the area of the
1 The article is a result of the project: Viminacium, Roman Viminacium Archaeological Park (Fig. 6b).2
city and military camp – research of the material and
non material culture of inhabitants by using the modern 2 On today’s landscape and the site of Viminacium, see:
technologies of remote detection, geophysics, GIS, Nikolić and Roter-Blagojević 2017, 188-204; Nikolić et
digitalization and 3D visualization (no 47018), funded al. 2017, 573-583; Nikolić et al. 2013, 260-271; Niko-
by The Ministry of Education, Science and Technological lić and Roter-Blagojević 2018, 785-792; Golubović and
Development of the Republic of Serbia. Korać 2013, 65-73; Anđelković Grašar, Rogić and Niko-

77
Archaeology and Science 15 (2019) Anđelković Grašar and Nikolić - Milena Pavlović Barili...(77-97)

Fig. 1 Viminacium landscape today with ancient remains covered by soil (photo by Emilija Nikolić).

It is widely known that Milena Pavlović Ba- um, conducted by Mihailo Valtrović (1939-1915) a
rilli was born in the town of Požarevac in today’s Serbian architect and art historian, and later by Mi-
Serbia, about 20 km from the Viminacium archae- loje Vasić (1869-1956) the first Serbian educated
ological site, as the daughter of the Serbian Dani- archaeologist (Валтровић 1884; Васић 1903a/b).
ca Pavlović (1883-1965) and Italian Bruno Barilli Milena belonged to an aristocratic family; her
(1880-1952) (Fig.2). She spent her childhood in mother Danica was a descendent of the royal Serbi-
Požarevac, but also in many large European cit- an family of Karađorđević, while her father Bruno
ies, completed her studies in painting in Belgrade was an Italian composer and a music critic. From
and Munich, and continued her work in Paris and a young age, she was taught foreign languages, a
New York (Fig.3). In 1962, a legacy gallery was variety of skills and etiquette, all while travelling
opened at her birth house in Požarevac with about throughout Europe with her family. Based on the
nine hundred of her works, as well as many items given preferences, it would be reasonable to sup-
from her life.3 pose that the young Milena probably had an oppor-
tunity to visit archaeological sites in the vicinity of
her hometown.
miLena paVLoViĆ BariLLi and It is testified in historical sources and pho-
viminacium tographs that royals and intellectuals were very
much interested in the research of antiquities
The period of the end of the 19th century and in 19th century Serbia. Queen Draga Obrenović
the beginning of the 20th century was the time of and King Aleksandar visited Viminacium with
the first archaeological excavations at Viminaci- their escort during the excavations of Miloje
Vasić and donated one hundred ducats to future
lić. 2013, 9-14. research (Korać, Golubović 2009, 12) (Fig.4).
3 Gallery 2019.

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Anđelković Grašar and Nikolić - Milena Pavlović Barili...(77-97) Archaeology and Science 15 (2019)

Fig. 2 Milena Pavlović Barilli with her family in 1910 (Galerija Milene Pavlović Barilli. “Galerija slika – porodične
fotografije”, http://galerijamilenepavlovicbarilli.rs/galerija-slika/, accessed on December, 6th 2019).

The wealthy industrialists of the time, as antique building of the Vajfert mine, Kanitz saw fragments
lovers and collectors, tried in many ways to pre- of sarcophagi, sculptures and architecture (Каниц
serve valuable artefacts of the past. At the time 1989, 85, 184-185). The Danube ship’s captain,
of the development of archaeology in Serbia and Dragutin Todić, who transported Kostolac coal,
the beginnings of industrialisation (Спасић 2015, was also a passionate collector of Viminacium an-
14), both of which started in Kostolac village, tiquities, and he set up a lapidarium of stone mon-
sites were not protected and much depended on uments with Vajfert, near his villa in the village
the will of individuals. During their work in the of Kostolac, wishing to establish a museum there
Kostolac underground coal mine of Đorđe Va- (Спасић-Ђурић 2015, 73-75). In 1934, it was
jfert (1850-1937) in the 19th and the beginning written that finds from Viminacium were housed
of the 20th century, workers would find various in the Gymnasium in Požarevac and National
artefacts, as well as the remains of architecture, Museum in Belgrade, as well as within the Vajfert
which were collected and later handed over by collection (Миленковић, Протић 1936, 43). To-
administrators, engineers, and Vajfert to various dić and Vajfert left their collections to the Nation-
institutions, as Mihailo Valtrović, Miloje Vasić al Museum in Požarevac, the National Museum
and Felix Kanitz (1829-1904) wrote (Валтровић in Belgrade and the National Museum in Pančevo
1886а, 26; Валтровић 1886b, 71-72; Валтровић (Спасић-Ђурић‚ 2015, 14) (Fig. 5). The artefacts
1886c, 116; Валтровић 1886d; Валтровић 1890, in the Gymnasium were housed in the building
56; Васић 1903b, 205; Каниц 1989, 85, 184-185, from 1893 and the first museum was founded
190; Сариа 1934, 73-75). In the administration there in 1895. As it was robbed and ruined during

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Archaeology and Science 15 (2019) Anđelković Grašar and Nikolić - Milena Pavlović Barili...(77-97)

Fig. 3 Milena Pavlović Barilli at the opening of her exhibition in New York in 1943 (Galerija Milene Pavlović Barilli.
“Galerija slika – porodične fotografije”, http://galerijamilenepavlovicbarilli.rs/galerija-slika/, accessed on December,
6th 2019).

the First World War, it did not function from 1915 area, which was a common practice among the
to 1930. During the 1930s the museum activities local population during the 19th and 20th century.
were renewed. In 1947, the museum was opened Today, many artefacts from Viminacium are in
in one of the city houses, while from 1951, the some private or even museum collections around
collections have been housed in the present-day the world. Although it is hard to trace their exact
museum building (Манојловић 1996, 9, 10, 30, routes it could be supposed that the closeness of
31; Драгојeвић 1996, 41, 44). Danube was important, especially during the 19th
Even if Milena did not have an opportunity to and beginning of the 20th century, as a fast connec-
visit Viminacium, she probably had a chance to tion with Central and Western Europe. At the same
see the artefacts from the site within the previously time, the young Milena with her family had begun
mentioned private collections and the inventory of her journeys from the Danube port in the nearby
the Gymnasium. Milena was a student of the Gym- Dubravica village, ancient Margum.4
nasium after the First World War (Protić 1979, 10), Everything mentioned above coincides with a
that is, during the period when the museum was source very important to this study. The source,
closed, but she probably could see some ancient which can be considered first-hand, is the last let-
fragments left. She could also see the artefacts be-
ing sold in the antiquities markets in the Požarevac 4 About Požarevac and its vicinity and Milena’s early life
in: Bulajić 2010, 262-279.

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Anđelković Grašar and Nikolić - Milena Pavlović Barili...(77-97) Archaeology and Science 15 (2019)

Fig. 4 King Aleksandar Obrenović and Queen Draga visiting Viminacium in 1902 (Спасић-Ђурић 2015, 16, Сл. 13)

ter that Milena sent to her mother in 1943, where town during childhood, namely the antiquities she
she wrote: “My dear mum... The most beautiful saw. Protić wrote: “Childhood and youth in this
sunset is in our garden in Požarevac. People think landscape rich, among other, with the archaeolog-
that only in past times did I look for patterns for ical sites – broken Roman sculptures and sarcoph-
my paintings, but they emerged from the freeze agi – influenced Milena’s sentimental education
of my childhood days for grasses, clouds, birds, and prepared materials for the encyclopaedia of
butterflies, for our fields and woodlands… In my her artistic symbols” (Protić 1979, 16-17).
imagination, our stories about forest fairies which
you used to tell me came together with the po-
ems of Valéry, and the broken Roman sculptures ancienT archiTecTural and
and sarcophagi, which I watched with enthusiasm sculpTural elemenTs in The
and admiration in the archaeological sites near paintinG of miLena paVLoViĆ
Požarevac, and led me to the visions of Botticelli barili
and De Chirico” (Jovanović 2019). A similar ob-
servation was made by Miodrag B. Protić (1922- The period between 1932 and 1936, Miodrag
2014), the artist and art historian, who wrote, ob- B. Protić referred to as Milena’s “linear” or “Pa-
viously influenced by the previous letter regarding risian and Roman” period and characterised it as
the great influence on Milena’s painting made by the period when her poetic or magical relationism
her personal experiences she gained in her home- was formulated, which would be present as a base

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Archaeology and Science 15 (2019) Anđelković Grašar and Nikolić - Milena Pavlović Barili...(77-97)

Fig. 5 National Museum in Požarevac and its lapidarium today (photo by Emilija Nikolić).

in all later phases of her work (Protić 1979, 7). years, is the period during which Milena often
Jelica Milojković called this period her “linear-an- used to visit her mother in Požarevac. In 1936,
cient” period, describing it as a formed whole Milena left Požarevac and never returned.
within which the irrational and fantastic enriched One can primarily try to trace the visible and
the iconography created by symbolic motifs and material relationship between Viminacium and
allegories, with the content and topic as the most Milena’s art in motifs that are associated with An-
important parts of the painting (Милојковић tiquity. The architectural elements and fragments,
2009, 49-90). During this period, a note of secret statues or human figures that resemble statues,
fiction is present in Milena’s painting, as well as as well as compositions that refer to the mytho-
in the drawings named Surrealistic compositions logical patterns are an indicative part of Milena’s
or Surrealistic drawings. In this iconography, a pictorial poetics.5 Within Milena’s paintings in
disturbed relationship between objects is notice- the technique of oil on canvas, human figures are
able, and images are transferred from the realm of often represented as statues, mostly torsoi. Male
reality into the realm of dreams, hallucinations or and female figures are equally represented, while
enigmatic narratives, while in the artistic manner androgyny is also present in several paintings.6
the line is dominant and used for the describing 5 Since the legacy of Milena’s art comprises more than
and creation of all forms (Protić 1979, 19). The 600 works of art, the paintings that are already well known
linear phase of Milena’s painting, rich in its use and analysed by experts are used as reference examples in
this paper.
of antique motifs, framed within the mentioned
6 On androgyny and emancipation in Milena’s art see:

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Anđelković Grašar and Nikolić - Milena Pavlović Barili...(77-97) Archaeology and Science 15 (2019)

а b

Fig. 6 a. Milena Pavlović Barilli: “Composition with a Female Fig. and Columns”, 1933 (reproduction from the
Milena Pavlović Barilli Gallery); b. Subconscious mutual connection of the archetypes and unconscious acts, both
well known in surrealism and recognized in the painting “Composition with a Female Fig. and Columns” can be also
noticed in the ambient of the contemporary building in Viminacium Archaeological Park (photo by Nemanja Mrđić).

Wings are often painted instead of arms, while toportret kao mrtva priroda” – 1935; “A Doll
heads and faces are rendered more or less with a (Composition with a Ball)”/“Lutka (kompozici-
human look, but more often characterised with ja sa loptom)” - 1936). The whole female figure
a sculptural modelling - an ancient one (“Torso rendered in the manner of the ancient sculpture
with the Wing”/“Torzo sa krilom”; “Male Fig- is noticeable in two paintings from 1933 - “Com-
ure with Wings”/“Muška figura sa krilima”; “A position with a Female Figure and Columns”/“-
Woman with Holey Leaf”/“Žena sa probušenim Kompozicija sa ženskom figurom i stubovima”
listom”; “Torso with a Black Hand”/“Torzo s (Fig. 6a) and “Composition with a Female Figure,
crnom rukom”; “Composition with Hands”/“- a Column and a Tree”/“Kompozicija sa ženskom
Kompozicija sa rukama” - 1932; “Female Winged figurom, stubom i drvetom” (Fig.7a). In the last
Torso”/“Ženski krilati torso”; “Composition with one, the female figure, based on the posture, re-
Two Figures”/“Kompozicija sa dva lika”; “A sembles the Venus sculpture type, while the male
Black Woman with a Figure”/“Crna žena sa fig- bust possesses the solemnity and iconography of
urom”; “Female Bust”/“Žensko poprsje”; “Semi- a Roman imperial bust, resembling the emperor
nude and a Portrait”/“Poluakt i portret” – 1933; Caracalla (Fig. 7b-7f), especially his bust from
“A Portrait with a Black Glove”/“Portret sa crnom the National Archaeological Museum of Naples
rukavicom”; “Self-Portrait as a Still Life”/“Au- (211-217). It is hard to suppose that Milena was
interested in the history of Viminacium’s Legion
Janković 2010, 178-208.

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Archaeology and Science 15 (2019) Anđelković Grašar and Nikolić - Milena Pavlović Barili...(77-97)

Fig. 7 a. Milena Pavlović Barilli: “Composition with a Female Fig., a Column and a Tree”,
1933 (reproduction from the Milena Pavlović Barilli Gallery); Caracalla bust from: b. Museo
dei Marmi, palazzo Medici-Riccardi, Firenze (Used and cropped by Emilija Nikolić © Sailko
/ Wikimedia Commons / CC BY-SA 3.0, https://commons.wikimedia.org/wiki/File:Arte_
romana,_busto_di_caracalla,_III_sec._ca._05.JPG, accessed on December, 6th 2019);
c. Metropolitan Museum of Art (Used and cropped by Emilija Nikolić © Samuel D. Lee
Fund, 1940 / Wikimedia Commons / CC0 1.0, https://commons.wikimedia.org/wiki/
File:Marble_portrait_of_the_emperor_Caracalla_MET_DP333082.jpg, accessed on December, f
6th 2019); d. The Department of Greek, Etruscan and Roman antiquities, The Louvre, Paris
(Used and cropped by Emilija Nikolić; Public auction Hirsh, 1957, Marie-Lan Nguyen (2005)
/ Wikimedia Commons / No license / https://commons.wikimedia.org/wiki/File:Caracalla_
Louvre.jpg, accessed on December, 6th 2019); e. Naples National Archaeological Museum,
Naples (Used and cropped by Emilija Nikolić © Marie-Lan Nguyen (2011) / Wikimedia
Commons / CC BY 2.5, https://commons.wikimedia.org/wiki/File:Caracalla_MAN_Napoli_
Inv6033_n06.jpg, accessed on December, 6th 2019); f. The British Museum, London (Used
and cropped by Emilija Nikolić © Hyspaosines / Flickr / CC BY-SA 2.0, https://www.flickr.
com/photos/12371736@N00/37023768113, accessed on December, 6th 2019); g. The Altes g
Museum, Berlin (Used and cropped by Emilija Nikolić © Hyspaosines / Flickr / CC BY-SA 2.0,
https://www.flickr.com/photos/12371736@N00/30182073661/in/album-72157634095284442/,
accessed on December, 6th 2019).

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Anđelković Grašar and Nikolić - Milena Pavlović Barili...(77-97) Archaeology and Science 15 (2019)

VII Claudia, which participated in military cam- position with a Female Figure, a Column and a
paigns against the Parthians organised by the em- Tree”/“Kompozicija sa ženskom figurom, stubom
perors Septimius Severus and Caracalla (Спасић- i drvetom” (Fig. 7a) – 1933, “La lettura” – 1935).
Ђурић 2015, 26), and the fact that Caracalla was Usually, columns in Milena’s works are paint-
proclaimed Caesar in Viminacium in 196 AD ed without capitals. A column fracture can en-
(Mócsy 2014, 201), but it would be possible to danger the whole structure (architectural, social
suggest the notion that the emperor’s bust might or personal), it is the connection between the sky
once have existed among the lost treasures of Vi- and earth, while in Roman mythology it had a
minacium art that she was able to see. phallic significance in the cult of the goddess Ce-
Floating sculptural fragments, busts, torsi or res, symbolising fertility (Gerbran, Ševalije 2004,
arms belong to some petrified characters or revived 889-894). Since the capital is considered the head
ancient sculptures which, owing to their floating, of the column, beheaded columns together with
lose the heaviness of material things and become statues can participate in the complicated narra-
disembodied. The diluted colours that she used in tive of Milena’s fantasies, dreams, unconscious
paintings ruin the well known visual features of the fears and questions regarding the unsettled rela-
real world and, together with images of immobile tionships within her personal life. As Jelica Mi-
characters or their metamorphoses - from living to lojković wrote, a column is an element that gives
petrified or dead, suggest the psychological reality life to the building it supports. Broken column
that created them (Janković 2001, 34). shafts, without the capital or the base, “evoke the
Columns are present in several of Milena’s damaged power of life and creation, the absence
paintings as well. They usually unequivocally of happiness and the impossibility of progress”
refer to Antiquity, resembling Greek and Roman (Милојковић 1992, 145).
architectural orders. In Greek and Roman archi- “The Portrait of Reynold Gonzales”, from
tecture, Ionic order was considered female, while 1933, represents a realistically portrayed man
Doric was associate with the male gender. This leaning on a column. The fallen column, whose
can be considered an important part of the column shaft is visible together with other motifs among
symbolism together with its symbolism generally. which is a sculptured male body similar to the
Since the shaft of a Greek Doric column is always ancient Apollo, can be analysed using phantasms
fluted and it has no base, and the bases of the Ro- and symbols of the unconscious, which create
man Doric and Tuscan order columns are differ- the image. The interpretation of the motifs in the
ently shaped, according to the painted flat surface painting named “A Doll” is associated with sym-
of the shaft and its base it can be assumed that the bols of transformation and playing with the gender
column depicted in the painting “Male Figure with identities, while the column and the male figure
Wings”/“Muška figura sa krilima” could belong are interpreted in the same manner corresponding
to the more decorative Ionic, Corinthian or Com- with broken rules and stereotypes, as well as re-
posite order. However, the base mostly resembles inforcing the idea of the ambivalent relationship
a Roman Ionic base. Columns with capitals and of the “male” and “female” positions (Јовичић и
bases resembling the less decorative Roman Dor- Башић 2015, 395-410). A column without a cap-
ic or Tuscan order, broken or sometimes as part of ital and with an architrave is painted as a back-
architecture with architraves suggesting temples, ground in the painting “Double Face”/“Dvostruki
are present in Milena’s paintings as well, but com- lik” from 1934, while a winged portrait and mask
bined with female figures (“Composition with a are depicted in the foreground (Fig. 8a). Olivera
female figure and columns”/“Kompozicija sa Janković described this composition as a con-
ženskom figurom i stubovima” (Fig. 6a), “Com- tinuation of the process of the metamorphosis of

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Archaeology and Science 15 (2019) Anđelković Grašar and Nikolić - Milena Pavlović Barili...(77-97)

b c

Fig. 8. a. Milena Pavlović Barilli: “Double Face”, 1934 (reproduction from the Milena Pavlović Barilli Gallery);
b. Fragment with Medusa from the Nimnik monastery (Milovanović and Anđelković Grašar 2017, 117, Fig. 20); c.
Fragment with Medusa from the Rukumija monastery (Milovanović and Anđelković Grašar 2017, 177, Fig. 19).

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Anđelković Grašar and Nikolić - Milena Pavlović Barili...(77-97) Archaeology and Science 15 (2019)

the abstract mesh on the woman’s head into an (Цуњак 1984, 249, 257; Радовановић 1997, 248-
intimation of death and, in this specific example, 249; Цветковић 2009, 41-42). A tombstone called
transformed into a superior and rampant winged “The Return of Alkesta”, built into the wall of the
figure hovering over a frightened face, painted in Smederevo fortress, from the mid-15th century,
the bluish tones of veins as a sign of the cheerless probably originates from Viminacium (Цветковић
fate that has befallen it (Janković 2010, 170. cf. 2009, 36-37; Pilipović 2011, 598-599, 611). At two
Protić 1979, 23). Although the author recognised opposite ends of the plain of Stig, on which Vimi-
the form of Medusa’s face in the painting named nacium was located, there are two monasteries, the
“A Girl with a guitar”/“Devojka sa gitarom”, in monastery of Rukumija and the monastery of Nim-
the painting “Double face” - where this reference nik, whose foundation is linked to Prince Lazar and
can be used even more clearly, she did not men- the 14th century, and reconstruction to Prince Miloš
tion such a connection. In the décor, inspired by and the 19th century (Бојковић и Ђокић 2016, 88,
Antiquity, in front of the ruined architecture and a 90, 99, 104). The fragment embedded in the church
blue, cloudy sky, ancient motifs are placed, with of St. Nicholas of the Nimnik Monastery (Fig. 8b)
complex symbolical connotations. The dreamy probably originates from one of the settlements
face, with curly, dishevelled hair and wings on that belonged to Viminacium territorially and ad-
the top of the head unequivocally resemble the ministratively (Спасић 1998, 316, 318), while the
popular Roman Medusa image, while the mask fragment embedded in the wall of the Church of
like face above it can be associated with ancient the Holy Ascension of the Rukumija Monastery
warrior masks. In such a constellation it would (Fig. 8c) is assumed to have originated from Vimi-
be reasonable to suppose that this was Milena’s nacium itself (Спасић 1996, 222). The embedded
personal interpretation of the myth of Medusa and fragments in these two churches are very important
the brave Perseus who killed the monster, since elements of the oral intangible heritage of the Vi-
the artist was well educated, minded toward myth minacium area, as the characters of Medusa were
interpretations in her work and often inspired by interpreted as personifications of female characters
popular ancient motifs. This interpretation of the of folk songs and traditions (Радовановић 1997,
depicted motifs can be built on the ever present 238; Milovanović and Anđelković Grašar 2017,
dualism in Milena’s art and, in this case, specif- 176-177; Бојковић и Ђокић 2016, 90). It is inter-
ically the relationship between male and female, esting to mention here that the largest number of
as well as questions of the gender roles within so- Roman tombstones found in the territory of the for-
ciety, since the Medusa has always signified the mer Province of Upper Moesia, with a tympanum,
wild female force, protective towards women and have a rosette in the middle, while the next motif
frightening to men, and which was finally defeat- by number is the head of Medusa, and all the mon-
ed by the male strength of Perseus killing her (Mi- uments found with this motif come from Viminaci-
lovanović and Anđelković Grašar 2017, 167-182). um (Pilipović 2004, 362):
Fragments of Roman monuments with repre- Some of Milena’s compositions are interpret-
sentations of Medusa have been built into the walls ed according to a surrealistic ideology and her
of several historic buildings in the immediate and pictorial poetics. In such a way, the connection
wider surroundings of Viminacium. The Church of between the small watercolour on paper “Vase
the Assumption of the Blessed Virgin Mary in the with Carnations”/“Vaza sa karanfilima” (Fig.
Old Smederevo Cemetery is believed to have been 9a) and the painting “Winged Anthropomorphic
built in the mid-15th century but has been restored Vase”/“Krilata antropomorfna vaza” (Fig. 9b),
several times since the beginning of the 18th century, both from 1935, is described by Olivera Janković
but the origin of the built-in fragment is unknown with a homonym – a stylistic device that includes

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Archaeology and Science 15 (2019) Anđelković Grašar and Nikolić - Milena Pavlović Barili...(77-97)

а b

Fig. 9. a. Milena Pavlović Barilli: “Vase with Carnations”, 1935 (reproduction from the Milena Pavlović Barilli
Gallery); b. Milena Pavlović Barilli: “Winged Anthropomorphic Vase”, 1935 (reproduction from the Milena Pavlović
Barilli Gallery); c. Prosopomorphic Vessels from Moesia Superior (Nikolić and Raičković 2008, 139, Fig. 2).

the same forms with different meanings and al- in the latter, a less significant detail in this work,
lows seemingly absurd combinations or metamor- a vase with carnations, which stands next to the
phoses of objects (Janković 2010, 174. cf. Protić photo, is transformed into a key figure, that is, into
1979, 23). Analysing the two compositions she the form of a human face with added wings with
wrote: “In the former, two little angles are taking which it flies like a cherub… Taken together, these
away a framed photograph of the artist, a realis- two works show how one picture becomes an im-
tic self-portrait of Milena Pavlović Barilli, while pulse for the creation of another, or indicates the

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Anđelković Grašar and Nikolić - Milena Pavlović Barili...(77-97) Archaeology and Science 15 (2019)

Fig. 10. Milena Pavlović Barilli: “Self-portrait with Antiquity Head”, 1936
(reproduction from the Milena Pavlović Barilli Gallery).

process of an imaginary migration of signs from na possessed a knowledge of art history, visited
one work to another in accordance with free asso- international museums and had an opportunity to
ciations” (Janković 2010, 174, 176). The last sen- be in live contact with the archaeological heritage
tence and the idea of the impulse for the creation in the vicinity of her hometown.
or imaginary migration of signs stands correctly, The compositional structure of the waterco-
but allows the further interpretation of migrating lour work “Vase with Carnations” can be associat-
signs and impulses, especially knowing that Mile- ed with the ancient composition known as imago

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Archaeology and Science 15 (2019) Anđelković Grašar and Nikolić - Milena Pavlović Barili...(77-97)

clipeata, usually represented on Roman sarcopha- surrealism: a meThod for

gi, when a portrait of the deceased is depicted in a The associaTion beTween
framed field, often flanked by the image of small milena and The landscape
winged boys - not angels, but Cupids. The motif
of the anthropomorphic vase from the painting As a cultural movement, surrealism originates
“Winged Anthropomorphic Vase” is not so surre- from the curative mechanisms used in psycho-
alistic if we look back to Roman pottery produc- analysis. It is based on the subconscious, stim-
tion from the territory of Moesia Superior, and see ulating the inner experiences. Surrealism as a
that the largest number of this type of “vessel with super reality i.e. absolute reality, is based on the
a face” has been discovered at Viminacium (Niko- contradictory conditions of dream and reality, de-
lić and Raičković 2008, 136) (Fig. 9c). Thus, the fined as pure psychic automatism by André Bret-
motif itself does not necessarily have to be inter- on in his Surrealist Manifesto from 1924 (Breton
preted as Milena’s vision, while the added wings 1961). Surrealistic paintings do not represent the
and the ambient of the painting refer to the artist’s real world visible to the eye, but the inner reali-
well known pictorial poetics. The modern staging ty, dreams and mind of the artist (Waldberg 1970,
as a reinterpretation of the ancient imago clipeata 5-7). The movement was revolutionary in art and,
and the ancient artefact of a prosopomorphic ves- from the 1920s onwards, it became globally rec-
sel that flies over time and space make the conclu- ognised. Based on the inner being and experienc-
sion given by Olivera Janković universal, no mat- es that originate from the real world, dreams and
ter what the correct interpretation of the symbols memories shaped in the unique mind of an indi-
is: “Using the experience of what was seen before, vidual artist, surrealism can be used as a method
intuited or recorded in another picture or anoth- to connect the pictorial poetics of Milena Pavlović
er medium represented the means used in this art Barilli and the Viminacium landscape.
to represent the uncertainty of scenes seen in the Various realistic objects were an important
mind’s eye, which, at the very next moment, un- part of surrealistic compositions, but without a
der the influence of a new element that enters the real and accurate context. These objects could
mind’s field of vision, transforms into something have referred to psychological associations or
else.” (Janković 2010, 176) even collective subconscious archetypes. These
Finally, it should be mentioned that Mile- subconscious associations between realistic ob-
na’s poetry can be considered an echo and a jects and spaces provide surrealistic compositions
source of the symbols she used in her painting with symbolical and mystic meanings, as well as
(Pešikan-Ljuštanović 2010, 242). Few of her dream-narratives that highlight the presence of the
poems mention architecture, statues or Antiqui- otherness (Aspley 19-24). Based on the surrealis-
ty generally. However, some associations can be tic ideology, it can be said that Milena’s fascina-
found in her Italian poems, where she wrote on tion with Antiquity and the use of ancient poetics
marble caryatides, columns and arches. during the “linear phase” of her work had its echo
in the personal subconscious filled with the realis-
tic, physical stimulations she had encountered in
her childhood. Additionally, some ancient objects
and interpretations of the antique heritage refer to
the collective subconscious and archetypes which
Milena used to reinforce the symbolical signifi-
cance of her compositions.

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Anđelković Grašar and Nikolić - Milena Pavlović Barili...(77-97) Archaeology and Science 15 (2019)

It is also known that besides surrealism, the motifs and united with the artistic imagination into
great influence in Milena’s painting was Giorgio de a visual narrative, pointing toward the creation of
Chirico (1888 - 1978), who founded Metaphysical a new vision of reality. The artist’s creativity unit-
art in 1911, which, in turn, influenced the formation ed the external and internal, dream and reality, past
of surrealism. Metaphysics does not rely upon real and future, intimate and the universally human
world experiences, but is more about the core of (Јовичић и Башић 2015, 395-410). Among other
the world, which is beyond the real. In de Chirico’s features that shaped her personality and art were
paintings, empty streets of Italian towns are com- nomadism, interdisciplinarity, transnationality, as
bined with antique statues or Roman mythology, well as a specific return to some of the values of
together with objects of everyday life. These enig- traditional art (Janković 2001, 6, 8).
matic compositions can be understood only spiritu- Although Milena spent most of her life travel-
ally and be experienced only ingeniously (Calvesi ling the world, and was often considered a nomad,
2006, 29-34). The same could be said about the it seemed that her childhood and stay in her family
comprehension of Milena’s painting, which her house in Požarevac was an important part of her
intimate world brought to light owing to the mys- life and work, noted in her letters, poetry and paint-
terious and symbolical compositions created with ings in the form of an elusive and unfulfilled dream
ancient motifs, objects of everyday life, portraits of her home.7 This combination of global traveller,
and self-portraits within the interior and exterior of nomad and sentimental dreamer traditionally linked
her life spaces. To understand Milena’s art, a grasp with the family, allowed Milena to create her indi-
of the symbols, signs, enigmas and metaphors is vidual pictorial poetics that rested upon the ideolo-
crucial, but only combined with her biography gy of surrealism and metaphysical art. It is certain
(Subotić 2010b, 40, with ref. 37). The strongest as- that the works of the old masters whose creations
sociation between Milena’s and de Chirico’s art can she had the chance to see during her visits or stays
be found in the combination of self-portraits and in several European and American artistic centres,
ancient portrait heads. “Self-Portrait with Antiqui- together with the personal experiences she gained
ty Head” from 1936 (Fig. 10), concludes the linear in her childhood, contributed to her specific poetics
period, but did not break with Antiquity as a source (Subotić 2000, 27-37; Subotić 2010b, 7-54).
for its inspiration. It is based upon the methodology An alternative interpretation of some of the
of producing a work from other works, where noth- motifs in Milena’s compositions, which is based
ing other than remembrance can be created (Mere- on knowledge of ancient iconography and sym-
nik 2009, 26-32). bolism, led the authors of this paper to the as-
sumption that, subconsciously, ancient artefacts
that Milena saw in her childhood and youth, quite
conclusion possibly from Viminacium, were a very important
part of her pictorial poetics in the latter years of
The art of Milena Pavlović Barilli was deeply her work. The authors wished to link the wider
self-reflective, confessional and melancholic, in the meaning of the term of Antiquity with the land-
spirit of post-metaphysical art, filled with symbols scape of ancient Viminacium and suggest that,
and metaphors, poetics and narration with rem- based on surrealistic ideology, Milena’s strong
iniscences of Antiquity and the Renaissance - in love for her home town and its rich archaeological
which the achievements of Antiquity were praised heritage or even some specific motifs in her art,
as the peak of human art (Subotić 2010a, 286). Her show that this kind of association could be con-
paintings represent fragments of her personal ex-
periences, transposed owing to the archaic-ancient 7 Janković 2001, 111. On Milena’s nomadism and various
identities in: Bakić 2010, 300-317.

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Archaeology and Science 15 (2019) Anđelković Grašar and Nikolić - Milena Pavlović Barili...(77-97)

sidered. The first researcher of Milena’s art, the acKnowledgemenTs:

person who recognised the potential of her legacy
and the one who helped Milena’s mother open the The authors of the paper are grateful to the
legacy gallery in Požarevac in 1962, was Miodrag Milena Pavlović Barilli Gallery in Požarevac for
B. Protić. In his book (i.e. catalogue of an exhibi- the reproductions of Milena’s works and permis-
tion) dedicated to Milena, Protić wrote that her art sion to publish them. Special gratitude is owed to
was an inseparable part of her homeland legacy Violeta Tomić, the Gallery’s curator, for the pro-
and, among other influences on her painting, as ductive collaboration and unselfish help, as well
was written before, he mentioned the archaeologi- as Jelica Milojković, Professor Simona Čupić,
cal sites in the vicinity of Požarevac, dealing with Dragan Jacanović and Dragana Spasić-Đurić for
the details from the last letter she sent to her moth- their valuable advice on the analyses and conclu-
er. His association should also be taken as rele- sions given in the paper. The authors would also
vant because of the fact that he spent significant like to thank their dear colleague Nemanja Mrđić
time with Milena’s mother Danica, discussing and Dragana Pavlović for the creation of the pho-
and interpreting Milena’s work and life.8 Olivera tograph in the Viminacium Archaeological Park
Janković considered the Viminacium monuments that is used in this paper.
a potential “ancient” inspiration for Milena, to-
gether with the vast cultural heritage of Rome,
as well as artistic models during her education in bibliography
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day life, to reconstruct forever lost artwork or an Legionary Camp, in: J. Popielska-Grzybowska, J.
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Римски натписи из Костоца, Старинар 3/1: 23- gorije kulturnih predela u oblasti zaštite kulturnog
27. nasleđa omogućavaju da se za određen istorijski
predeo vežu tragovi različitih vrsta umetnosti na
Валтровић, m. 1886b čiji nastanak je predeo uticao, a koji nisu nužno
Остаци старе цркве у Костоцу, Старинар 3/2: hronološki uslovlјeni. U ovom radu je prikazana
71. interakcija predela i umetnosti/umetnika, na prim-
eru arheološkog nalazišta Viminacijum nadomak
Валтровић, m. 1886c Požarevca i svetski priznate slikarke Milene Pav-
Римско олово са жиговима, Старинар, 3/2: 71- lović Barili rođene u ovom gradu.
72. U pismima koja je slala majci Danici, Mile-
na je uvek sa najvećom lјubavi pisala o rodnom

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Anđelković Grašar and Nikolić - Milena Pavlović Barili...(77-97) Archaeology and Science 15 (2019)

kraju i sa toplom emocijom se sećala detinjstva Mileninog pisma majci Danici iz 1943. godine
provedenog u njemu, što se zaklјučuje i na osn- i Protićevog zapažanja da je u detinjstvu mogla
ovu zapisanih majčinih sećanja. Period Mileni- videti ostatke antičke arhitekture i umetnosti na
nog likovnog stvaralaštva između 1932. i 1936. području Požarevca bogatom arheološkim nala-
godine, Miodrag B. Protić nazvao je „linearnim“, zištima, autorke ovog rada iznose mogućnost da
odnosno „parisko-rimskim“ periodom, dok ga je upravo Viminacijum mesto u čijem je materi-
Jelica Milojković naslovlјava kao „linearno-an- jalnom, ali i nematerijalnom nasleđu Milena naš-
tički“ period. Period je tematski najviše određen la motive i inspiraciju za dela nastala u periodu
antičkim nasleđem, a tokom njega Milenina pik- između 1932. i 1936. godine. Ovakav vid asoci-
toralna poetika referira na antičku prošlost upo- jativne veze u saglasnosti je sa konceptom nadre-
trebom motiva arhitektonskih elemenata, kao i alizma koji je u ovom radu iskorišćen kao metod
skulptura ili lјudskih figura u formi skulptura, te za povezivanje predela Viminacijuma i piktoralne
kompozicijskim rešenjima koja za potku imaju poetike Milene Pavlović Barili. Shodno tome,
mitološke obrasce. određeni motivi Mileninih slika dobili su dru-
Obrazovanje koje je sticala u evropskim gačiju interpretaciju koja na podsvesnom nivou
metropolama, posete velikim muzejima, kao sugeriše da ono što je umetnica videla u detinjstvu
i poznavanje savremenih umetničkih tokova i mladosti kasnije u njenom slikarstvu izranja kao
metafizičkog realizma i nadrealizma, zasigurno su deo imaginarnog narativa.
doprineli ovakvoj Mileninoj poetici. Ipak, tragom

97
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ARHEOLOGIJA i prirodne nauke =

Archaeology and Science / glavni i odgovorni
urednik Miomir Korać. - 2019, No. 15-
Beograd : Centar za nove tehnologije :
Arheološki institut, 2019- (Beograd :
DigitalArt). - 28 cm

ISSN 1452-7448 = Arheologija i prirodne

nauke
COBISS.SR-ID 136747788