{"id":200,"date":"2020-03-06T21:52:23","date_gmt":"2020-03-06T20:52:23","guid":{"rendered":"https:\/\/www.milunmitrovic.com\/?page_id=200"},"modified":"2020-08-20T15:08:51","modified_gmt":"2020-08-20T13:08:51","slug":"critics-reviews","status":"publish","type":"page","link":"https:\/\/www.milunmitrovic.com\/sr\/articles\/critics-reviews\/","title":{"rendered":"Iz tekstova kriti\u010dara"},"content":{"rendered":"\n
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Borba<\/strong>, April 21, 1956.
M. M. (Mi\u0107a Milo\u0161evi\u0107)
Milun Mitrovic\u2019s Pastels <\/em>
(Graphic collective Gallery)<\/p>\n\n\n\n

[\u2026] Mitrovi\u0107\u2019s finest, as well as artistically most distinctive work in this exhibition, is a number of rich and powerful landscapes, which display his particular affinity and exceptional abilities in this genre which is so beloved at present. These pictures also bear witness to something much more important: they contain \u2014 and this is unfortu\u00adnately rare in our painting nowadays \u2014 very characteristic and significant features of the Ser\u00adbian landscape, executed without any factographic naturalism, or descriptions of local regions. In these works, Mitrovi\u0107 succeeded in finding and condensing the true and complete impression and appearance of our region, in an artistically very sugges\u00adtive and visually convincing manner. This is not only a very enviable artistic success, but also an obligation to achieve the same in his future work.<\/p>\n\n\n\n

With broad and synthetically resolved surfaces, strong and pure colours applied in their most intense harmonies, Mitrovi\u0107\u2019s landscapes are as forceful and expressive as they are precisely observed and nuanced. The gentle material of pastel seems to have covered them with the finest silken velvet which appears to glow voluptuously and hide wonderful colouristic reflections in its folds [\u2026]<\/p>\n\n\n\n

Pobjeda <\/strong>\u2014 Titograd, October 4, 1959.
A. Zadrima
Elemental and Fresh <\/em>
(Montenegrin Art Pavilion)<\/p>\n\n\n\n

[\u2026] Geometrical forms only served Mitrovi\u0107 as a medium through which he expres\u00adsed his own artistic vision. With broad strokes and lavish application of bright colours and harmonized tones which are very fresh to the eye, he has built up impressive entities. An impressive lushness and elementary simplicity emanate from them. Those are the characteristics of Mitrovi\u0107\u2019s painting, which can be seen in a series of works in which he depicts fields of ripe wheat, velvety pas\u00adtures and dark plowed fields, paintings full of sunlight, ripeness and blossoming. This almost hedonistic relationship with nature is expressed by the rhythm of loose colours, masterfully interwoven. Without insistence on tonal relations and nuancing, they \u2019hold together\u2019 and chromatically complement one another. He returns to the same subject several times in order to paint it in varying moods, add some new observation, new accent of colour, new dimension of form (Winter Landscape, Land, Evening) [\u2026]<\/p>\n\n\n\n

Borba<\/strong>, September 23, 1962.
Danica Abramovi\u0107
Serious and Contemporary Efforts <\/em>
(Nade\u017eda Petrovi\u0107 Gallery, \u010ca\u010dak)<\/p>\n\n\n\n

[\u2026] The experience, knowledge and culture that he gained throughout the years, have brought exceptional, deeply felt qualities to his painting. Today they are expressed through suggestive and interesting forms of a temperamental, but also refined colourist painting, which finds its most complete technical expression in the pastel technique and its sincere and emotional thematic vocation in the har\u00admonious lines of the Serbian landscape [\u2026]<\/p>\n\n\n\n

Suboti\u010dke novine<\/strong>, November 16, 1963.
M. Dejanovi\u0107
Milun Mitrovic’s Pastels <\/em>
(Winter Salon)<\/p>\n\n\n\n

[\u2026] In Milun Mitrovi\u0107\u2019s work, pastel seems to have achieved its renaissance.<\/p>\n\n\n\n

Through the breadth of his stroke which is visible on the surface, this artist is able to show us a grand scale and depth of tone equal to the deep furrow of a plowed field or the richness of a downpour. Just as any vacillation or poverty is inconceivable when it comes to the sources of emotion, it is also natural for Milun Mitrovi\u0107\u2019s paintings to contain a wealth of high-quality painterly elements.<\/p>\n\n\n\n

The harmony in the relationship between colours, surface and sensations is fascinat\u00ading. His abstract landscapes clearly represent symbols of titles of an existing world. This is one of the important aspects of his excellence. [\u2026] Milun Mitrovi\u0107\u2019s love is completely bound up with the land and everything on it, with everything that enthralls, worries or amazes a man. Regardless of whether it is raining or snowing \u2014 his space imaginarily stretches into some distant dream [\u2026]<\/p>\n\n\n\n

Politika<\/strong>, January 18, 1963.
P. V. (Pavle Vasi\u0107)
Milun Mitrovi\u0107\u2019s Landscapes <\/em>
(Belgrade Cultral Centre Gallery)<\/p>\n\n\n\n

[\u2026] Long interested in building a vision of the Serbian landscape, Mitrovi\u0107 has achieved impressive results in recent years, particularly in the technique of pastel. This means that he has built up a conception of the landscape which is more associa\u00adtive than realistic in its effect, but as such suggests something new and original in our art.<\/p>\n\n\n\n

[\u2026] Certainly, there are landscapes in which the link with nature, with land and sky, are more obvious, but they, too, tire imbued with a strong personal expression so that the viewer perceives them primarily as an exciting visual experience [\u2026]<\/p>\n\n\n\n

Foreword for the catalogue of the Cultral Centre Exhibition<\/strong>,
January 10\u201320, 1963.
Aleksa \u010celebonovi\u0107
Milun Mitrovi\u0107<\/em><\/p>\n\n\n\n

[\u2026] The Belgrade school of painting between the wars had an ideal of pure painting, and certain members of today\u2019s middle generation continue to cherish such values.<\/p>\n\n\n\n

[\u2026] Milun Mitrovi\u0107 engages in pure painting, and because of its characteristics, it is difficult to define its content by means of the spoken word. Only an indication of the sphere of his interests is possible. The starting point is the landscape, a simple one at that, an almost impoverished and artistically thankless vision of fields in late autumn, on the slopes of the rolling hills of Serbia. For a time the painter sought some common logic and structure from which he created a network of spatial relations. That was a period of deduction and strict assessment of values in the body of the painting, although a gentle and measured movement was being hinted at even then, through the lines of boundaries and the quantitative ratio of surfaces. A restrained move\u00adment crept in, whose intentions are only suggested beneath the superficial calm of established rules.<\/p>\n\n\n\n

[\u2026] Remembering a lonely landscape, maybe with a sketch in his baggage and certainly with the full heart of the lonely hiker through fields, listening to the wind, and breathing in the smell of the earth, the artist quite freely recreated the essence of his landscape, from only a few artistic elements.<\/p>\n\n\n\n

[\u2026] Milun\u2019s works are characterized by simplicity and reduction of means, which certainly does not imply the limiting of the artistic experience. On the contrary, moving along the line which seems abstract from the point of view of figurative expression, and which from the position of the abstract imposes its reality and even realism on the viewer, the artist exploits many possibilities of achieving a pure artistic vision, without any dog\u00admatic impoverishment or literary wearisomeness.<\/p>\n\n\n\n

His medium is pastel, which he masterfully uses on canvas, giving the surfaces a particular vibration in a complete, happily discovered agreement with his own charac\u00adter. In Milun Mitrovi\u0107\u2019s work the pastel acquires the fullness of sound, capable of sustaining a large surface in its purest artistic meaning, and all that without the usual graphicism.<\/p>\n\n\n\n

Borba<\/strong>, January 19, 1963.
D. (Dragan) \u0110or\u0111evi\u0107
Milun Mitrovi\u0107<\/em>
(Belgrade Cultural Centre Gallery)<\/p>\n\n\n\n

[\u2026] One could say that the landscape of his native Serbia is a permanent obsession of Mitrovi\u0107\u2019s painting. He approaches it with a hidden excitement of a man in love who is discovering truths visible only to himself, which are otherwise hidden deep under outward appearances, and also discovering secrets of the essence of being, available only to him and inaccessible to superficial examination. Excited by these discoveries, he reacts to them in different ways. Sometimes, like Gliha and \u0160umanovi\u0107, he delves into the geological structure of the loose, fertile soil, divides up surfaces and analyses the material composition; sometimes he searches for the psychological, and sometimes for the atmospheric characteristics. He is not attracted by what man has added to nature, but by nature itself, as it is, elemental and enigmatic, seemingly calm and at the same time inconstant in its metamorphoses, in its dynamic changes \u2014 in short, by its material and psychological content [\u2026]<\/p>\n<\/div>\n\n\n\n

\n

4 Jul, Belgrade<\/strong>, January 29, 1963.
Vojislav \u0110urovi\u0107
Meaningful Decorativeness<\/em>
(Milun Mitrovi\u0107, painter, Belgrade Cultural Centre Gallery)<\/p>\n\n\n\n

[\u2026] These are paintings which were created spontaneously and with feeling, and which were painted with a bold, but at the same time careful and economical stroke. The artistic polish could be understood as quite the reverse of what we would like to point out as the particular value of this talented painter \u2014 an artistic and colouristic sensibility and a sense of taste, of measure, marking an artist who knows where he starts out from, what his means are, and where to stop. The moment when the brush-stroke stops is the cru\u00adcial, fateful point for every artist. Pastel, too, is a technique which demands every\u00adthing at once: intensity, stimulus for the painting, technique \u2014 as well as a knowl\u00adedge of where to stop, when the work is completed, when the picture is finally created.<\/p>\n\n\n\n

Politika<\/strong>, June 25, 1968.
P. V. (Pavle Vasi\u0107)
The Consistency of Milun Mitrovi\u0107 <\/em>
(Museum of Modern Art Salon)<\/p>\n\n\n\n

[\u2026] At the start of these explorations, Mitrovi\u0107 went for the drama of horizontal and slanting lines, bringing to life their conflicts through contrasts of tones. Of all Milunovi\u0107\u2019s students, Mitrovi\u0107 learned most from his teacher\u2019s work. Moreover, even today there are certain paintings that contain a virtual paraphrase of Milunovi\u0107\u2019s idiom, which is unique in its originality. Hence in the first phase, a certain density, an economy of artistic means, which resembles \u2014 per analogiam \u2014 the heroic epoch of cubism when the expression was denuded and concentrated only on what was important. As regards composition, which in these paintings plays an important role, Mitrovi\u0107 has likewise set a fine example of sureness and knowledge [\u2026]<\/p>\n\n\n\n

Borba<\/strong>, June 25, 1968.
Stevan Stani\u0107
Painters and Themes<\/em>
(Museum of Modern Art Salon, Pariska 9, Belgrade)<\/p>\n\n\n\n

[\u2026] Whether it was, perhaps, in a Vojvodina art colony, some ten years ago, that Mitrovi\u0107 became preoccupied by the endless Ba\u010dka plain and its even more infinite sky, is of little importance today. Like an alchemist, or a haunted scientist, he has re\u00admained transfixed by this seemingly unchanging formula, by a seemingly identical compositional rhythm. Colour, though, passed through various phases: first there was the austerity of brown, grey and olive-green tones, then these were gradually supplemented by chocolate and warmer ochres, until these burst into velvety cin\u00adnabar, orange and cobalt hues. His drawing, at first dominated by straight lines, flat surfaces and foundations, gave and impression of strictness. However, this harmoni\u00adous, geometrical order gradually started to become entangled, entwined; shapes started combining in broken masses in a truly fascinating expressive chaos. Mitrovi\u0107\u2019s eternal landscape has now acquired a part of the times we live in, a part of the speed of jet flights over the landscapes of our planet [\u2026]<\/p>\n\n\n\n

Knji\u017eevne novine<\/strong>, June 22, 1968.
Miodrag Kolari\u0107
(Museum of Modern Art Salon)<\/p>\n\n\n\n

[\u2026] The painter Milun Mitrovic is currently exhibiting in the Salon of the Museum of Modern Art.<\/p>\n\n\n\n

[\u2026] He started with landscapes and has remained faithful to them throughout his entire artistic experience, basing on them even the great change in conception, when he turned from expressionism to abstraction. This transition was not violent, or un\u00adexpected; moreover, it was a result of a firm consistency, and all those who know his Sokobanja landscapes from before 1958 will find nothing alien or imposed in his abstract canvases of today. From all this it follows that Milun Mitrovic is, above all, a colourist. This is indeed the case; colour was and has remained his exclusive and only means of expression. At least for the time being. There is no reason for doubt\u00ading this, except the unfounded supposition that his colouristic procedure consists of a form of tonal construction, which in his work replaces form in a characteristic manner. It is true that there is a characteristic tonal construction, and it helps the viewer to recognize Mitrovic\u2019s works among thousands of others; however, the value of Mitrovi\u0107\u2019s procedure lies in his refined, slightly sharp sensitivity towards the pure resonance of colour [\u2026]<\/p>\n\n\n\n

Aleksinac Youth Centre<\/strong>, September 8\u201314, 1973.
Stanislav \u017divkovi\u0107
Exhibition of Milun Mitrovi\u0107\u2019s Paintings<\/em><\/p>\n\n\n\n

[\u2026] We can conclude that Milun has distinguished himself as an artist of composition above all. In each of his paintings we find exceptional feeling for the laws or artistic forms, which, seemingly imitating nature, achieves the arrangement and organization of pure painterly elements. The artist instinctively discovered that behind the visible world surrounding us, there is a much more complex mechanism which preserves the harmonious balance of nature. <\/p>\n\n\n\n

[\u2026] He searches for the harmony of artistic values, expressed through the con\u00adtrast of horizontal and planting lines, flat and oval surfaces, static and dynamic mas\u00adses, tone and colour. At the same time he shows us that the coloured masses move, that they flow in various directions, forming pictures which are sustained in a mutual balance. Thus Mitrovi\u0107\u2019s landscapes or nudes are a rich experience, which fills and calms the viewer [\u2026]<\/p>\n\n\n\n

Knji\u017eevne novine<\/strong>, January 16, 1974.
Sreto Bo\u0161njak
Faithful to Landscapes<\/em>
Milun Mitrovi\u0107, Belgrade Cultural Centre Gallery<\/p>\n\n\n\n

[\u2026] Mitrovi\u0107 starts from a subject, from something he has seen, usually a landscape (sometimes a nude) towards which he feels nostalgic ties and devotion, in order to discover, in the result, in the construction of the painting, a balance in the stylistic union of the inspirational impulse (the landscape) and the means of expression \u2014 line, colour, texture. Mitrovi\u0107\u2019s inspiration has a specific poetic character, since land\u00adscape does not serve him only as material for his work; he looks to it and is in love with it as a work of nature full of life and the symbolic meaning of beauty and eternity. His style, a stylization bordering on the associative, likewise springs from this attitude: the painting is composed from geometricized surfaces, often severe, energetic lines and strong strokes, but rather cerebral in the colour harmony [\u2026]<\/p>\n\n\n\n

Politika<\/strong>, January 19, 1974.
Pavle Vasi\u0107
Milun Mitrovi\u0107’s Pastels <\/em>
Belgrade Cultural Centre Gallery<\/p>\n\n\n\n

[\u2026] Mitrovi\u0107 was one of the few artists who have painted Serbian landscapes. In that way he has managed to create an original vision of Serbia, its landscapes, hills and fields, which have already gained acceptance in our contemporary painting. In time, and especially in these past few years, Mitrovi\u0107\u2019s attitude has become ever more condensed and meaningful. He has created a work which is new from the point of view of subject, purified as regards style, seen through the prism of his individuality which brought to his painting even greater restraint, which is characteristic of our ethos.<\/p>\n\n\n\n

NIN<\/strong>, January 27, 1974.
\u0110or\u0111e Kadijevi\u0107
The Line of Heritage Belgrade <\/em>
Cultural Centre Gallery<\/p>\n\n\n\n

[\u2026] Thus was created Mitrovi\u0107\u2019s characteristic style in landscape painting, syn\u00adthetic in the Milunovi\u0107 manner, directed at the essence, but original in its tempera\u00adment, more robust than that of the teacher, in some places overtly capricious, filled with a barely-contained desire for the total submission of the artistic content to the process of reduction to \u2019the bare essence\u2019 which leads to the very brink of abstrac\u00adtion. This synthesis and a priori reduction to the essential is applied equally to colour \u2014 resonant, mostly chromatic, without tonal counterpoint. The temperament changes the nature of the material: the pastel, which is thought of as a gentle, feminine technique, is here, in the Gallery of the Cultural Centre, obviously in the service of a masculine type of art.<\/p>\n\n\n\n

Mitrovi\u0107\u2019s landscape, however, does not lose the qualities of the ambience, a pungent, somewhat sad atmosphere, in which we discover his personal experience of the Serbian land. [\u2026]<\/p>\n<\/div>\n<\/div>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

Borba, April 21, 1956. M. M. (Mi\u0107a Milo\u0161evi\u0107)Milun Mitrovic\u2019s Pastels (Graphic collective Gallery) [\u2026] Mitrovi\u0107\u2019s finest, as well as artistically most distinctive work in this exhibition, is a number of rich and powerful landscapes, which display his particular affinity and exceptional abilities in this genre which is so beloved at present. These pictures also bear […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":141,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"site-sidebar-layout":"default","site-content-layout":"default","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"default","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"class_list":["post-200","page","type-page","status-publish","hentry"],"yoast_head":"\nCritics\u2019 Reviews – Milun Mitrovi\u0107<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.milunmitrovic.com\/sr\/articles\/critics-reviews\/\" \/>\n<meta property=\"og:locale\" content=\"sr_RS\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Critics\u2019 Reviews – Milun Mitrovi\u0107\" \/>\n<meta property=\"og:description\" content=\"Borba, April 21, 1956. M. M. (Mi\u0107a Milo\u0161evi\u0107)Milun Mitrovic\u2019s Pastels (Graphic collective Gallery) [\u2026] Mitrovi\u0107\u2019s finest, as well as artistically most distinctive work in this exhibition, is a number of rich and powerful landscapes, which display his particular affinity and exceptional abilities in this genre which is so beloved at present. 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M. M. (Mi\u0107a Milo\u0161evi\u0107)Milun Mitrovic\u2019s Pastels (Graphic collective Gallery) [\u2026] Mitrovi\u0107\u2019s finest, as well as artistically most distinctive work in this exhibition, is a number of rich and powerful landscapes, which display his particular affinity and exceptional abilities in this genre which is so beloved at present. These pictures also bear […]","og_url":"https:\/\/www.milunmitrovic.com\/sr\/articles\/critics-reviews\/","og_site_name":"Milun Mitrovi\u0107","article_modified_time":"2020-08-20T13:08:51+00:00","og_image":[{"width":2560,"height":894,"url":"https:\/\/www.milunmitrovic.com\/wp-content\/uploads\/2020\/03\/faximil-scaled.jpg","type":"image\/jpeg"}],"twitter_card":"summary_large_image","twitter_misc":{"Procenjeno vreme \u010ditanja":"13 minuta"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/www.milunmitrovic.com\/articles\/critics-reviews\/","url":"https:\/\/www.milunmitrovic.com\/articles\/critics-reviews\/","name":"Critics\u2019 Reviews – Milun Mitrovi\u0107","isPartOf":{"@id":"https:\/\/www.milunmitrovic.com\/#website"},"datePublished":"2020-03-06T20:52:23+00:00","dateModified":"2020-08-20T13:08:51+00:00","breadcrumb":{"@id":"https:\/\/www.milunmitrovic.com\/articles\/critics-reviews\/#breadcrumb"},"inLanguage":"sr-RS","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.milunmitrovic.com\/articles\/critics-reviews\/"]}]},{"@type":"BreadcrumbList","@id":"https:\/\/www.milunmitrovic.com\/articles\/critics-reviews\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.milunmitrovic.com\/"},{"@type":"ListItem","position":2,"name":"Articles","item":"https:\/\/www.milunmitrovic.com\/articles\/"},{"@type":"ListItem","position":3,"name":"Critics\u2019 Reviews"}]},{"@type":"WebSite","@id":"https:\/\/www.milunmitrovic.com\/#website","url":"https:\/\/www.milunmitrovic.com\/","name":"Milun Mitrovi\u0107","description":"Official site","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/www.milunmitrovic.com\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"sr-RS"}]}},"_links":{"self":[{"href":"https:\/\/www.milunmitrovic.com\/sr\/wp-json\/wp\/v2\/pages\/200","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.milunmitrovic.com\/sr\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.milunmitrovic.com\/sr\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.milunmitrovic.com\/sr\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.milunmitrovic.com\/sr\/wp-json\/wp\/v2\/comments?post=200"}],"version-history":[{"count":0,"href":"https:\/\/www.milunmitrovic.com\/sr\/wp-json\/wp\/v2\/pages\/200\/revisions"}],"up":[{"embeddable":true,"href":"https:\/\/www.milunmitrovic.com\/sr\/wp-json\/wp\/v2\/pages\/141"}],"wp:attachment":[{"href":"https:\/\/www.milunmitrovic.com\/sr\/wp-json\/wp\/v2\/media?parent=200"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}