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1 Barilli

2 Barilli 3 Barilli

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4 Barilli 5 Barilli

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opening remarksJelica MiloJkoVi, curatorial adVisor, Milenas HoMe

Foundation, Gallery oF Milena PaVloVi Barilli

An exceptional figure in modern serbian art, Milena Pavlovi Barilli, married name Gosslen, was one of the most avant-garde and the most interesting figures on the european and american art scene in the 1940s and the first half of the 1950s, a builder of reverie and daydreams, who moved relentlessly across the realms of her lavish art production, along the thin gossamer of dreams.

since its first posthumous presentation in serbia, held at the Belgrade cultural centre in 1955, Milena Pavlovi Barillis opus has not ceased to attract and intrigue people in the cultural public sphere. Many renowned essayists, art critics and theoreticians have given their verdict on it.

However, when in the 1950s arduous work began to systematise and study Milena Pavlovi Barillis works and the meager collection of related documents and archival materials, it turned out the preserved factographic material was not sufficient for a firm basis

on which to build an objective, realistic image of the unusual and atypical personality of this exceptional artist. it allowed the outlining of her character, promising a long, painstaking process before a splendid mosaic could be assembled.

after Milenas birth house located in Poarevac was coverted into a memorial museum in 1962 The Gallery

of Milena Pavlovi Barilli it was possible to administer Milenas parents last will, asking to save from obscurity their daughters unique opus, preserved mainly as part of the family legacy, along with a substantial number of items kept in museums and private collections across europe, the u.s. and australia, so it could be protected from deterioration, systematised, studied and presented to the public.

The tendency to treat her art through multidisciplinary and multinational projects, which has consequently made it possible to confirm and show the high standing of Milena Pavlovi Barillis art in european as well as the world history of art, has led to a vigorous promotion of Milenas work, as shown by representative exhibitions held in Belgrade, Zagreb and ljubljana, 1979/80, at the

Gallery of the serbian academy of sciences and arts, 1993, Progress Gallery, Belgrade, 1999, as well as through interstate projects presented in Parma, 1989, Paris, 2002, Bucharest, 2004, Bratislava, 2005, Prague and Brno, 2006/07, rome

and rimini, 2009/2010, and skopje, 2010.

This year, Milenas unique art is being presented for the first time to consumers of fine arts in Banja luka and republic of srpska, which will help to strenghthen additionally the political and cultural ties between the two neighbourly countries.

6 Barilli 7 Barilli

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introductionlana PiliPoVic, curator

MuseuM oF conteMPorary art rePuBlic oF srPsKA

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10 Barilli 11 Barilli

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...Dusky and tall, with a deep, alto voice, questioning and attractive, charming , of a breezy spirit, always elegant, in gold sandals, with a cigarette between her fingers...

lana PiliPoVic, curatorMuseuM oF conteMPorary art rePuBlic oF srPsKA

introduction

The biography of Milena Pavlovi Barilli, an extraordi-nary phenomenon in the serbian painting between the wars, was very different from the biogra-phies of other serbian painters of the interbellum. What sets Milenas life apart from others was that she trav-elled a lot and lived in a number of european metropolises, which was quite rare for serbian artists at that time, who were mostly trained in Munich and then re-turned to serbia. Her travels led her to scrutinise herself, bringing her new insights and a differ-ent understanding of time and space. she inherited her love of travel from her parents, danica Pavlovi and Bruno Barilli, who met while studying music at the Munich conservatory. on the distaff side, Milena descended from the karaorevi dynasty, and on the spear side from a great Barilli family of artists from Parma. even though danica and Bruno divorced in 1923 over different living styles, they remained attached to each other for the rest of their lives, which their correspondence attests to.This duality which Milena inherited from her parents and felt strongly throughout her life, those two different cultures, two identities, one traditional, partriarchal and the other unconventional, made an impact on her work.

she mostly found inspira-tion for her art in the works of renaissance painters of the 15th century, Mannerists, Magic real-ists, surrealists, as well as spanish artists of the 16th, 17th and 18th centuries, from whom she bor-rowed motifs or backgrounds,

which she personalised and used to express herself as an artist.Milenas paintings, highly nar-rative, invariably inquire about life; most often she was her own model and onto her paintings she transferred her own dreams, suffering and fantasies. What makes her works unique in the history of serbian painting is the presence of subtle melancholy

and tales, poetic and confes-sional at the same time, full of symbolism, amalgamating the influences of all the places Milena visited or resided in. Her paintings are both subtle and passionate, fluttery and obscure, inscrutable and complex.during her career as an artist she went through several dif-ferent phases, anxious to keep in tune with the trends of her time. along with painting, she made fashion illustrations and costume designs, and also wrote poetry in itlaian, French and spanish. she was broadly educated; she knew music well, along with literature, theatre, cultural history, psychoanalytic theory, and other contemporary phenomena, and by virtue of the fact she worked in different fields and expressed herself using different means, she succeeded in demonstrating her versatility and her talent in its entirety.

Milena Pavlovi Barillis work may be divided into three periods: The Munich period (1926-1931), the Paris period (1932-1938) and the American period (1939-1945).

Danica studied music, the piano and singing , and was highly educated; at the same time, she was an exceptional mother, truly dedicated to Mile-na, always there to advise her on lifes important issues. Bruno Barilli, a poet, composer, music critic, travel writer, a man known by Europes art circles, was enchanted by Danicas beauty and intelligence.


1926-1931

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the munich period

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1926-1931

the munich period

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1926-1931

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1926-1931

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1926-1931

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1926-1931

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the munich period

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1926-1931

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the munich period

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1926-1931

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The Munich period (1926-1931) The Munich period (1926-1931)

1926-1931

the munich period

After following a basic painter training pro-gramme at the royal school of art in Belgrade, which she enrolled in at the age of thirteen and completed four years later, she went to study painting at the akademie der bildenden knste in Munich, from 1926 to 1928. Her professors were Franz von stuck and Hugo von Haber-mann, members of the Munich secession, who were nonethe-

less too conservative for Milena, which soon led her to leave the academy. during this earliest period of her work she mas-tered the trade, painting mainly portraits of members of her family, classmates and film stars, such as Conrad Veidt and rudolf Valentino, and her painting is characterised by strict academic principles.

The spirit of the 1920s was imbued with the world of cin-ematography and film glamour. The cult of actors, their charisma, their way of living and dressing were supported by the fashion industry, and artists readily expressed themselves through film aesthetics. inspired by film glamour, Milena made Self-Portrait in a White Bonnet and

Milenas inclination to and talent for fashion can be seen in her family photographs. There are many photographs of the artist and her mother Danica, of which some are conventional, while others show specially de-signed sets and costumes, where she herself looks like the models she used to draw. In her photo-graphs Milena is sponta-neous and self-confident, aware of her identity as an artist and of the way in which she needs to present herself.

, , 1927.


1926-1931

the paintings The First Smile and Modern Japanese Girl also exude a film atmosphere. alongside paintings, she drew a series of fashion designs worn by elon-gated figures, simple, extremely graceful and elegant. Model of a gown made in 1926 is character-ised by subtle stylised linearity,

which was extremely popular in the 1920s. The illustrations she made in 1927 and 1928 had a special quality to them: interesting compositions, with an abundance of detail and in many colours (cigarette-holders, monocles, sashes/scarves): Lady with a monocle, Life, Moonshine,

Die Dame, Holiday, etc. These fashion illustrations are exquisite in terms of the drawing skill demonstrated, whose quality surpasses Milenas realist paint-ings. With a series of stylistically uniform drawings, like Maia, Iris, Sevilla, Salomes Dance, and

hoLiday, , 1928.

die daMe, , 1927.

1926-1931

the munich period

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1926-1931

Indians, Milena created her own iconography, which combines stylised scenery, decorative winding lines in the spirit of art nouveau, plenty of detail under

oriental influence, an extreme vividness of the scenes present-ed, a myriad motifs and figures. These drawings are very imagi-native and of excellent quality, in

accordance with how they were required to paint at the academy, and thanks to their illustrative and decorative qualities, they flirt with applied art.

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1926-1931

the munich period

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1926-1931

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1926-1931

the munich period

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1932-1938

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1932-1938

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1932-1938

the paris period

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1932-1938

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the paris period

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1932-1938

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1932-1938

the paris period

After spending some time in london, where she had an exhibition, Milena distanced herself from traditional academic norms or ideals, and turned to new ways of expression in painting. in late 1931, she arrived in Paris, where new possibilities opened up for her, much closer to her own artistic affinities.

After spending some time in london, where she had an exhibition, Milena distanced herself from traditional academic norms or ideals, and turned to new ways of expression in painting. in late 1931, she arrived in Paris, where new possibilities opened up for her, much closer to her own artistic affinities.

In Paris she met the key figures in the world of culture at that time: An-dr Breton, Paul Valry, Andr Lhote, Jean Coc-teau, Giorgio di Chirico and his brother Alberto Savinio, Jean Cassou, who was a friend of Bruno Barilli, her father, as well as many other artists from all over the world. This atmosphere was of paramount, cru-cial importance for her to start creating her mature work.

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1932-1938

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1932-1938

the paris period

during this first period, Milena turned to subjective, symbolic and confessional painting, exam-ining her inner being, both the conscious and unconscious one, and containing a mixture of feel-ings, experiences and unrequited yearning. it was owing to this tendency, primarily to her in-sistance on elements of dreams and visions, that she was brought in connection with surrealism in a broader context. What marked Milenas painting much more was Magic realism, infused with melancholy, fantasy fusing with reality, showing eve-ryday situations in a somewhat forbidding manner and achieved

through a highly controlled organisation of elements in the painting, its architecture, choice of colour, etc. The paintings Milena created in and after 1932, such as Torso with a Wing , Torso with a Mask and Black Arm, Fantastic Composition with Two Faces, and Woman with a Winged Naked Man in a Hat, show imaginary spaces with lavitating columns from ancient temples, womens veiled faces, winged young men, fans, birds, flowers, which, evocative of rev-erie, blend into one another and create an impression of incom-pleteness. Fluttery visions full of symbolic elements indicate

these must have been the artists earlier first-hand experiences and her own inner restlessness, as her own tribulations and dreams are reflected in her paintings. colours of greater intensity are missing, resulting in an atmos-phere of languour, the petrified and supernatural.Most of the figures are without arms or have wings instead of them, which is symbolic of her desire to grow and rise spir-itually. These images of poetic, intimate confessions are mainly soft blue in colour, with shades of pale roseate and gray, where only contours are accentuated. Blue backgrounds suggestive of celestial infinity feature feathery clouds, a motif appearing in the 1930s painting.

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1932-1938

The second part of her mature period began in 1935, when shapes in her paintings became more compact, her drawing more solid, and the colours used thicker and more intensive. The artist moderated the earlier sentimentality in her work and turned to the poetics of meta-physical painting. The delicate figures and rhythmical draperies in her metaphysical paintings are reminiscent of antiquity; also,

Milena found inspiration in the works of old mas-ters Fra Angelico, Piero della Francesca, Titian, Boticelli, whose works she often paraphrased. Motifs from antique art were very popular in Paris in the 1920s and the 1930s and brought back the great masters, order and figuration.

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she used elements of renais-sance architecture to create a mysterious atmosphere.she often made self-portraits

1932-1938

the paris period

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and gave her face to other people portrayed in her paintings. all her figures share the same physi-ognomy, such as an elongated face and nose, almond-shaped eyes and a small mouth; also, she introduced a number of repetitive elements, like lamps or levitating figures, to create

her own iconography. From 1929 onwards, she increasingly created works showing her own face painted in two distinct man-ners, of two different characters or psychological models. This was another thing for which she turned to renaissance paint-ing, with artists showing double

faces, as an allegory of two inter-acting cosmic powers creating a balance.some of the master-pieces created after 1935 are Girl with a Lamp, Venus with a Lamp, Self-Portrait with a Brush, Self-Portrait with an Archer, Madonna, and Composition.


1932-1938

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1932-1938

the paris period

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1939-1945

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1939-1945

the american period

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1939-1945

the american period

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1939-1945

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1939-1945

, , , ( ): Vogue, town and country, Harpers Bazaar, charm, Glamour, Mccalls, House beautiful, textron, Hanes Hosiery, Bonwit teller, lord and teylor, Mary dunhill, revlon, Himmelhochs . Vogue

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1939-1945

the american period

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1939-1945

The American period (1939-1945)

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1939-1945

the american period

Just before the outbreak of World War ii, Milena joined many european artists for a visit to the Worlds Fair in new york, where a retrospective exhi-bition of surrealist art was held.Most of the artists who emigrat-ed went into fashion illustration and other kinds of commercial design to make a living, and their

work greatly contributed to the visual appeal of american maga-zines. Those illustrations thus became stylish, sophisticated and artistic, and the illustrators themselves became specially appreciated, remaining so until the mid-1950s, when fashion photographers took over.

Some of the artists who did commercial design were Ren Magritte,

Giorigio de Chirico, Max Ernst, Jean Coc-teau, and many others.

, , 1929.


1939-1945

The last period in Milenas work was also related to commercial design, as well as highly stylised portraits, which took her back to academic painting.although she drew on her aristocratic descent and her fathers family name, it was mainly Milenas personal abilities that brought her the connec-tions that enabled her to paint portraits of upper-class new yorkers and royal exiles in the u.s., such as archduke Joseph Franz of austria, Prince carl of sweden, Petar ii karaorevi, Gian carlo Menotti, Prince Faradin of turkey, Barbara Mal-lory, the Moffatt family, rosa-mund Frost, etc. The people in her portraits are presented as idealised characters in imaginary spaces, with the renaissance division of the painting into the foreground and background, with the background most often telling a story that can be linked to the person portrayed in the foreground. The painting is deli-cate, unrealistically planar and

*, , 1940.

*, , 1942.

*

* yale university art Gallery, new Hawen connecticut, usa 1939-1945

the american period

highly melancholy; the artists sophisticated technique and the details she created painstakingly are particularly stressed. one of the first paintings she made in the u.s. was the 1936 Self-Portrait, which best demon-strates this change in style, most probably arising from the atmos-phere of her new surroundings being so markedly different. The perspective in architects is that of renaissance painting, only this time without any elements suggesting it is a personal confes-sion, or giving her own facial features to the faces portrayed.like never before, she cre-ated several works on religious themes, such as John the Evange-list, Angels and Child, and Psalm 18, emanating deep spiritual devotion. contrary to her earlier portrayal of St. John as weary of fighting temptation, John the Evangelist is in a pensive, medita-tive mood, and the representa-tion of his eagle symbol is highly sophisticated.

... ii *, , 1942.


*

1939-1945

One of the most momen-tous events in Milenas career as an artist was her exhibition at the Julien Levy Gallery in 1940, whose owner was one of Americas most influential gallerists in the early 20th century. He opened his gallery in Manhattan in 1931, where he was the first to show European art-ists, especially Surrealist painting and film. Some of those artists were Marcel Duchamp, Man Ray, Alberto Giacometti, Arshile Gorky, Henri Cartier-Bresson, Fer-nand Lger, Max Ernst, Ren Magritte, Constan-tin Brncui , Salvador Dali, Frida Kahlo, and others.

, , 1942.

1939-1945

the american period

Also important are Milenas portrait pho-tographs made by Carl Van Vechten in 1940 (writer and photogra-pher, music critic for New York Times, who made a series of portraits of celeb-rities in the 1930s), one of which was a portrait photograph with a zep-pelin, Milenas favourite motif in the American period.

18 , , 1942.

, , 1942.


1939-1945

along with painting, Milena also worked for top fashion maga-zines, magazines on interior and exterior decoration, as well as big fashion houses (cosmetics and textile manufacturers): Vogue, town and country, Harpers Ba-zaar, charm, Glamour, Mccalls, House Beautiful, textron, Hanes Hosiery, Bonwit teller, lord and teylor, Mary dunhill, revlon, Himmelhochs, etc. Milenas illustrations for Vogue are the most interesting, as back then

they suited perfectly the special character of the magazine.These illustrations are graceful and sophisticated; essentially, they feature the same elements as Milenas enigmatic composi-tions created in the Paris period, like bright colours, levitating figures, veils, lamps, windows, etc. she adapted the style of ad-vertisements to incorporate her own painting style, introducing elements such as the renais-sance atmosphere, perspective

and painting division into the foreground and background; Manneristic influences are visible in Model of an evening

town&countRy, 1941.

LittLe Pink angeL, haRPeRs BazaaR, 1944.

VaLentine fRiLLs foR you, haRPeRs BazaaR, 1945.

1939-1945

the american period

gown made in 1939, and Poetic pincs and reds, with fashion accessories, is set against two-ground renaissance scenery.Her greatest success in fash-ion design was the design of costumes for the ballet sebastian by Gian carlo Menotti (an american composer of italian descent) made in 1944. it was also Menotti whom she gave her last painting, Nun, and who later wrote and dedicated an opera to Milena, titled The saint of Bleecker street. This painting, which shows a nun with her arms raised in prayer, rounds off her work as an artist: the shapes are undisturbed, simplified and closed and the colours are simple. Milenas career ended the same way it began; it was again portraits and fashion illustra-tions she made, except that her final series shows a great mastery of painting and a well-defined, recognisable style. in terms of quality, which is exquisite, all works created in the american period may be classified as highly aesthetised art.it may be assumed Milena would have continued to be a profilic artist, who would have readily used all kinds of media to express herself, as she did not only keep pace with the time she lived in, but was also a step ahead of it.

,, 1940.:


1939-1945

speaking about the serbian art scene, Milena Pavlovi Barillis work attracted the attention it deserves rather late, in the mid-1950s. although the beginning of her career can be linked to Poarevac and Belgrade, mostly due to her exhibitions and her membership in the art group lada, Milena did not follow

the trends in serbian painting and did not win recognition. after she failed to get a job in serbia and Macedonia, she built her career, resolutely and successfully, in Paris, rome and new york. after World War ii and her untimely death, a huge effort was needed to rectify the past neglect, given the fact she

was ideologically unsuitable and popular in the West. owing to her mother danicas persistence and Miodrag Protis efforts, The Gallery of Milena Pavlovi Barilli was opened in her birth house in Poarevac on 24 June 1962. today, it houses man of her paintings, drawings, personal items and letters.

hanes hosieRy inc., Vogue, , 1944, Harpers Ba-zaar, 1944.

escaPe, Vogue, 1945.

1939-1945

the american period

PRecision taiLoRing foR waRs necessities, haRPeRs BazaaR, 1945.


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biography

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1940-1942 Julien levy Gal-lery 1940. .

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1943 united yugoslav relief Fund , corcoran Gallery . . , 1943. .

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biography

1909Born in Poarevac on 5 november, as danica Pavlovi and Bruno Barillis only child.

1910leaves for rome with her parents. returns to Poarevac with her mother five months later.

1912-1915spends the summer of 1912 and 1913 in Pesaro with her mother, after which they return to Poarevac, just before the outbreak

of World War i. in mid-1915, leaves for for rome with her mother.

1916Finishes the first year of primary school in Bergamo. attends the second year of school

in rome, then leaves for nice with her mother to learn French.

1917-1918attends the second year of primary school at the italian-english institute in rome until July 1918, then continues school in Poarevac.

1919completes the third and fourth years of pri-mary school in Poarevac in one year, then enrolls in the Gymnasium. experiences first heart problems.

1921-1922removed from the Gymnasium in the sec-ond year. leaves for linz with her mother. travels around carinthia in the summer. attends classes at a Graz nunnery from september 1921 to July 1922, where she learns German.

1922-1925enrols in the preparatory class of Belgrades art school in the autumn of 1922, which she completes in June 1923. Passes second-year examinations at the Poarevac Gym-nasium. danica and Bruno get a divorce. in June 1925, passes fourth-year examina-tions at the second Girls Gymnasium in Belgrade. attends school in Belgrade while danica works at king alexander karaorevis court, first as a clerk in the royal decorations office, then as the royal court superintendant.

1926-1927Graduates from art school, where she exhibits her work for the first time at the end-of-year school exhibition. leaves for Munich and attends a preparatory class before applying to the academy of Fine arts. spends May, June and July of 1927 in nice and cannes, returns to Poarevac in august.in october 1927, matriculates in the aka-demie der Bildenden knste, joins Hugo Habermanns class. Moves to Franz von stucks class in the second semester.

1928drops out of the academy in June 1928. spends the summer in Paris, visits the louvre. returns to Poarevac in search of a job, but fails to find one. Holds her first solo exhibition at the Journalists House in Belgrade on 16 december, receives favour-able reviews from sreten stojanovi, Gustav krklec and Branko Popovi.

, , , 1910.


for the exhibition to be held at the Galleria della cometa in rome in January 1937. Milenas last visit to serbia. leaves for rome in december 1936.

1937-1939solo exhibition at the Galleria della cometa in rome in april. leaves for Paris, but returns to rome in the autumn. in January and February 1938, holds a solo exhibition at the Quatre chemins Gallery in Paris. ambassador of the kingdom of yugosla-via puts on a solo exhibition in tirana in March. exhibits at the Galerie Billiet in Paris with the group nouvelle generation. spends the summer in Venice, then in september visits Bergamo with mother for the opening night of her fathers new opera Medusa. spends the late autumn of 1938 and a part of the winter of 1939 in oslo. in March 1939, exhibits at the Galerie Pittoresque, in lexposition de nouvelle surrealisme, followed by a group exhibition with Paris-based artists originally from

1929Joins the lada art association. Holds an exhibition at krstas House in Poarevac. exhibits in the First spring and second au-tumn exhibitions at the cvijeta Zuzori Pavillion in Belgrade. spends the summer in slovenia, in rogaka slatina, Jezersko and Bled, then leaves for Prague. returns after having contracted typhus and spinal abscess.

1930exhibits in ladas 13th exhibition. leaves for spain after failing to find empoyment as an art teacher in Poarevac, tip, Veles and tetovo. Visits Barcelona, Malaga, sevilla, Granada, cordoba and Madrid. undergoes a surgery in the German hospital in Madrid in May, then in June leaves for Paris, where the surgery is repeated.leaves Paris to go to london. stays in london for a year and a half.

1931Holds a solo exhibition at londons Bloomsbury Gallery in February. Meets writer sibet Milii; they become friends. leaves for Paris in the autumn, where she stays, with intermissions, until 1939.

1932Has a solo exhibition at the Galerie Jeune

europe in Paris. Becomes acquainted with many artists and writers: de chirico, andr lhote, Paul Valry, andr Breton, alfred kubin, and others. in october, she shows her work at romes Galleria darte, where she meets her great love, pianist rodrigo Gonzales. Participates in group exhibitions at the Galerie Jeune europe in Paris, in spring and autumn. Participates in ladas 15th exhibition in Belgrade.

1933-1934exhibits at Florences sala darte de la na-zione in april. returns to Paris, stays there until summer, then leaves for Poarevac. returns to Paris in october 1934. Publishes poetry for the first time in the italian maga-zine Quadrivio. Participates in the Xii salon des tuilerie in Paris.

1935-1936exhibits in the ii Quadriennale darte nazi-onale in rome in February. Visits Poarevac in the summer, where she prepares works

Jeune euRoPe gaLLeRy, , ,29. 1932.


biography

, 1942.

, 1932.

, 1938.

yugoslavia at the Galerie Bernheim Jeune. The same exhibition is put on in The Hague in June. in august 1939, takes the boat de Grasse for new york, and is there at the outbreak of World War ii. looks for work to support herself, and already draws the model of an evening gown for the december issue of Vogue.

1940-1942Has a solo exhibition at the Julien levy Gallery in new york in 1940. Works for big fashion houses and fashion magazines as an illustrator, such as Glamour, Mccalls, Harpers Bazaar, House Beautiful, town & country, revlon, etc. simultaneously paints portraits of notable new yorkers.

1943exhibits at the united yugoslav relief Fund in new york, followed by Washingtons corcoran Gallery. draws sketches of costumes for the ballet sebastian by Gian carlo Menotti.Paints a portrait of robert Thomas astor Gosslen, who she marries secretly in north carolina in december 1943.

1944Falls off a horse and injures her spine in the spring. Goes to Mount kisco, new york, for

rehabilitation. Works hard during recovery, despite the metal corset covering the upper part of her body.Hails the liberation of Belgrade via radio new york.

1945commissioned scenery for William shake-speares a Midsummer nights dream for a new york theatre. dies suddenly at her new york apartment on 6 March.

1947Milenas earthly remains were brought to rome in an earn and buried at the cimitero acattolico per gli stranieri on 5 august 1949, where her parents were also buried later. testaccio is considered the final resting place of poets and painters, and the worlds most beautiful cemetery. People from all over the world, of different religions and social statuses, lie at this cemetery. in the 19th century, it served as an inspiration to many painters, as it is located in an idyllic area; also, poets such as Goethe and shelley

, , 1943.wrote about it. There is an association of

Friends of the cemetary who take care of its tombstones and vegetation, research the lives of the interred and organise guided tours around this most incredible place, where people can learn about the influential and renowned people lying there, creators of the worlds cultural history.This poetic graveyard was the best place for Milena Pavlovi Barilli to end the journey of her life.

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