As a result of all he had been through coupled with the smaller demands on a priest from such small congregations Glocar again sought out an outlet for his passion and converted his house in Lublin into a studio. By March of 1964 he had entered a painting into the Wisconsin River Valley Spring invitational and won a “purchase award” for his painting “Medieval Town”. He also began teaching art. He offered a class in the Summer of 1964 “How a painting Happens” with an exhibition by his students in early October. Although there was no indication that Fr. Glocar had taught any art classes in Akron, his first class in Wisconsin was very well received. The art Director of Stanley-Boyd Area schools Mrs. Gordon Le Gault commented, “I have never seen a class that showed such a rapid growth in the technique of handling oils and controlling the expressive power of color that this class has shown”.

Fr. Glocar later stated, “I started my career as a painter in Northern Wisconsin. The landscape fascinates me, I make many paintings in any season.” Before he had been in Wisconsin for a year in addition to his teaching, he had completed over 200 paintings and painted 10 religious icons for the churches he was associated with. An October 1, 1964 article in the Daily Telegram, a newspaper in Eau Claire Wisconsin, noted that his paintings have been in many art shows winning awards and recognition. He was invited by the University of Wisconsin, Wausau to have a one-man exhibition in fall of 1964. This frantic pace of painting and teaching painting was to continue for the rest of his time in Wisconsin.

There is no record of Icon painting during his time in Akron. Reviewers commented on a “religious feeling” and a “Byzantine heritage” in his Akron paintings but there is no record of icon painting. Early in his Wisconsin period he began painting Icons for the two churches that he was officiating at. Icon painting in the Orthodox tradition requires a very scripted style and formula which is quickly recognized by viewers who understand the style. Fr. Glocar’s Icons did not fit that rigid tradition. As with all of his paintings, his exuberant expression and love of color were dominant influences in his Icons.

Glocar quickly became recognized as an important artist in Northern Wisconsin and his art shows were often featured in the local papers. He described his ouster from the Serbian Orthodox Church as a clash between those who wanted to remain loyal to the mother church and the Patriarch in Belgrade and those who wanted to split. He referred to himself as “the first victim of the first split in the Serbian Orthodox Church in 700 years”. He was viewed by the residents of Northern Wisconsin as a gifted artist, with an exotic pedigree of writing and scholarship. Over the next two decades there were numerous articles about his life. His tumultuous times in Akron were never mentioned beyond Glocar’s comments about a misunderstanding between the US and Belgrade branches of the Serbian Orthodox Church.

Fr. Glocar remained apart from his family in Akron for the rest of his life. He did visit them every few years and two his children did visit him in Wisconsin at least once, Emil Jr when he was 18 in 1964, and his daughter Mildred in the late 1960’s when she was in her early 30’s.

In June of 1965, a year and a half after he moved to Wisconsin, he won the Andrew Clark Memorial award for rural art in the State of Wisconsin. On July 11, 1965, friends and students celebrated Fr. Glocar’s birthday at the Community park in Stanley, Wisconsin.  He also began teaching painting at various venues in Eau Claire, Wisconsin, which he continued doing for the next 10 years. He entered art competitions throughout northern Wisconsin, including Marshfield, Stevens Point, and Neillsville, and won numerous awards.

He also did not abandon his writing when he moved to Wisconsin. He had begun his Olomoucká trilogie, which is considered one of the best historical works of Czech literature, and finished Vol.1 Olomoucká romance in 1960. And Vol. 2 Magistr Gabriel, písař olomoucký in 1962 and Vol. 3 Olomoucká elegie, completed in 1970. This trilogy about a medieval Czechoslovian town is a chronicale of three generations of his Glocar’s family history. It tracks the growing wealth and power of the bourgeoisie in the 16th century and their strugle with the bishopic.

In March 1966 Fr. Glocar received a letter from Prague University informing him that he would be the honored subject of this year’s 60^th anniversary celebration.   Each year they celebrate the achievements in Czechoslovakian literature of an author who turned 60. The celebration included a critical publication of all his works. This was a great honor for Glocar who attended the celebration in Fall of 1966.

He continued as Parish Priest at both churches in Lublin and Huron, however parishioners especially in Lublin questioned the amount of time he spent painting and teaching rather then tending to his duties as priest. Evidence of this conflict appeared on the back of some of his paintings where he placed under his signature PPP, which stood for Priest, Painter and Prisoner of Lublin.

In Fall of 1966 Glocar left the parsonage in Lublin for Eau Claire, Wisconsin, where he rented a studio on the upper floor of the South Bank Gallery, 4 South Barstow Street.

He continued to paint, teach, and exhibit for the next 10 years. His reputation and recognition had become broader with shows at the Tate Gallery in Chicago and gallery in Minneapolis. He had several large shows with over a hundred paintings at St. Thomas University in St. Paul, Minnesota. He was honored for his work with a special reception and tea at Battle Creek, Michigan. He was also widely recognized for his teaching. Artists in the region who were interviewed for their artistic achievements often credited their studies with Fr. Glocar as being very influential in their technique and success.

During the interview Fr. Glocar reflected on writing. “It has too many limitations. It seldom leaves the reader to form his own image, so I closed the door on my writings” He turned to painting on a full-time basis. He closes the interview with the following, “When I look back and see what I have achieved, I realize that life is very short, but also very long. There is no end until you close your eyes and say goodbye.”

In 1977 the new owner of the building where he had his studio and apartment gave him notice that he had to move so that he could remodel the space and make it into apartments. Fr. Glocar looked for new accommodation but was unsuccessful. His income had fallen as he was no longer teaching and had stopped working with galleries. He was selling his paintings directly. He still was a priest at St. John the Baptist church in Huron, but that was a very small and poor congregation that paid him about $100 per month. 

His new landlord was accommodating and extended Glocar’s stay at 411 ½ Barstow Street until 1982. By that time the space itself had become very dilapidated. The furniture was very run down and there was no heat. Glocar said that the heat from the tenants below was enough for him, and he was able to unplug his refrigerator in November to save on utility bills. A visitor in January found him dressed in layers of clothing and the temperature in the room 55 degrees.  The apartment was called a fire hazard and Glocar was evicted by the city of Eau Claire in the winter of 1982.

He moved to the St. Sava Serbian Orthodox Monastery in Libertyville, Illinois. This was by an the invitation of Bishop Fimilian, an old friend of Fr. Glocar, who he knew at the Seminary in Sarajevo. For most of 1983 he served as the priest for Holy Trinity Orthodox Church in Milwaukee, Wisconsin. There were several exhibitions of his painting organized by his friends in Madison, Wisconsin.

He returned to the St Sava Monastery for good in 1984. On the Sunday of the Prodigal Son, Fr. Emilian preached at the Monastery Church, during the Divine Liturgy, on the Gospel theme of "Returning to the Father. "He commented how he, as any earthly father, in the image of God the Father, "constantly lays awake past midnight, awaiting to hear the footsteps of his children returning home to their father." Fr. Emilian passed away that same evening of a sudden heart attack in the Diocesan house and quietly returned to his Father in heaven.

There were obituaries for him in all of the Northeastern Wisconsin newspapers as well as Madison, Milwaukee and Akron, Ohio. He was buried in the cemetery at St. Sava Orthodox Monastery.

For the first 57 years of his life, upsetting events and tragedy seemed always to be close at hand; orphaned when he was 11; wounded in the WWI Armistice celebration at 18; and having his first church devastated by the river Sara flood. His artistic expression as a writer came to fruition with the publication of “Od jara do jara”.  He was 36 years old when he became aligned with “Bogomoljacki Pokret” as a speaker and writer. This people’s crusade was shaking up the foundations of Serbian Orthodoxy, and led to him and his family being exiled from their homeland in 1939.

For a Serbian Orthodox priest being exiled to America in 1939 would have been like missing your trip on the Titanic. Emil must have known hundreds of those who were lost in WWII. He was devoted to his position as an Orthodox priest and his energies as writer and organizer to aiding Yugoslavians who were in need of help. Almost the entire time he was the Priest at the Akron Serbian Orthodox Church he was accused of being a Communist sympathizer for his efforts towards the Yugoslavian people. He didn’t back down. He refused to renounce the Legion of Merit Medal given to him by Tito. He questioned the citizenship Judge, “What does pro-Tito Partisan mean”. In the end, from what information we do have, he was found guilty by a Kangaroo court and removed from his position and job as Priest of the Akon Serbian Orthodox church at the age 57.

The next chapter in Emillian Glocar’s life is like a beautiful Spring following a dreadful Winter. When he moved to Wisconsin he began painting in earnest. He  seemed to have had a total release of pent-up energy and was painting hundreds of paintings a year. He started teaching painting 6 months after his arrival and continued to teach almost until he left. His students were part of his artistic legacy. Fellow artists often commented on the impact he had on their painting. His recognition by the University of Prague for his contributions to Czech Literature in 1966 was a great honor. He was extremely prolific, estimated to have painted 3,000 paintings many displayed throughout the region in hospitals, court houses, churches and many homes.

Although a generation has passed since the death of Father Glocar, his legacy lives on. For those who knew him and for those who have the opportunity to view his art or read his books, their lives are enriched by the beauty, compassion and power of the human spirit portrayed in these forms of expression.

Forgotten? How can a man whose paintings adorn the walls of hundreds of homes churches and hospitals, whose books and poetry won national awards in his native country, who preached the principle of brotherhood rather than ridgid doctrine be forgotten?