In 1909, Milich spent a few months in Paris, studying at the studio of Claudio Castelucho, an instructor at the Académie de la Grande Chaumière.
Unlike most artists who seek the approval of the crowds and crave publicity, Milich finds pure satisfaction in expressing his emotions through skillful use of colours and tonal ratios on canvas.
From 1932 the couple managed the Fassbind Hotels on Rigi-Klösterli, the Sonne, Schwert and Krone at the same time, while Carla also owned an alpine dairy, and a bakery employing over 50 individuals.
[5][10] The couple collected important works including a seascape from 1869 by Johan Jongkind, two others by Eugène Boudin, an 1884 Claude Monet, a nude by Henri Matisse, a pastel by Édouard Vuillard of a woman at work, two views of the Seine by Henri Rousseau, a landscape by André Derain, an original engraving by Paul Cézanne with bathers, Siesta by Orthon Friesz, a portrait of Milich by Moïse Kisling, a watercolor by Jules Pascin, a woman in a café by Georges Rouault (1906), and busts by Charles Despiau, Marcel Gimond, Loutschansky.
The collection, donated to the Villa Ciani in Lugano in 1966, also includes the 1885 Hermitage at Pontoise by Pissarro, now at the Bern Museum, a landscape by Wilhelm Gimmi, small drawings by Constantin Guys, Vincent Van Gogh, Tiepolo, Francesco Guardi, Gustav Lorain, Henri de Waroquier, as well as lesser works by Richard Kaiser, Georges Kars, Maurice Savin, Emil Orlík.
The journal Das Werk describes Milich's style as linked to the School of Paris, ...in particular to Cézanne and to the classicist wing of painters from the Fauve movement (Derain, Kisling).
[11] In 1939 he held a solo exhibition at the Katia Granoff gallery, Quai de Conti, Paris which was favourably reviewed in L'Intransigeant;it must be admitted that this artist, who treats portraits, landscapes, and still lifes with almost equal felicity, has everything to gain by providing this somewhat broad view of his work.
You need very sure means to consistently obtain such firmness of construction, this plenitude of harmonies, this rare sobriety of expressing so discreetly the deep or subtle feelings inspired by beings and things.
The inexhaustible theme is once again renewed in canvases where we see through the eyes of the painter the Venice of summer, with its heavy and warm atmosphere, the poignant duet of sky and lagoon in plays of light which only exist at a sole point in the world.
Becoming partially paralysed during this time, Milich learned to paint with his left hand, and from 1950, in order to be able to devote herself entirely to her husband's artistic work, Carla sold the three hotels on Rigi-Klösterli.