Ivan Meštrović

He was born in Vrpolje, Slavonia, and spent his childhood in the small Dalmatian village of Otavice, the native place of his parents in the Dinaric Alps. His father was a poor peasant and sheep-breeder. At the age of sixteen he was accepted as an apprentice by Pavle Bilinić, a master of a stonemasonry in Split.[1]

His artistic skills were improved by studying the monumental buildings in the city and his education at the hands of Bilinić's wife, who was a high-school teacher. Soon, they found a mine owner from Vienna who paid for Meštrović to move there and be admitted to the Academy of Fine Arts where he studied under Edmund von Hellmer and Otto Wagner. Quickly he had to learn German from scratch and adjust to the new environment, but he persevered and successfully finished his studies.[2]

Well of Life (1905), fountain in front of Croatian National Theatre in Zagreb

In 1905 he had his first exhibit with the Secession Group in Vienna, noticeably influenced by the Art Nouveau style. His work quickly became popular, even with the likes of Auguste Rodin who once said that Meštrović is the greatest phenomenon among sculptors and even greater sculptor than he was.[2][3] Because of that popularity he soon earned enough for him and his wife (since 1904), Ruža Klein, to travel to more international exhibitions.

In 1908 Meštrović moved to Paris and the sculptures made in this period earned him international reputation. At this time, Ivan was a friend of the cubist painter Jelena Dorotka (Helene Dorotka von Ehrenwall). In 1911 he moved to Zagreb, and soon after to Rome where he received the grand prix for the Serbian Pavilion[4] on the 1911 Rome International Exhibition. There his work was praised as being strong and monumental compared to the "soft and ineffectual" pieces exhibited by his contemporaries, Hugo Lederer, Anton Hanak, and Franz Metzner.[5] He remained in Rome, spending four years studying ancient Greek sculpture.

Meštrović became a supporter of Yugoslavism and Yugoslav identity after he traveled to Serbia and became impressed with Serb culture.[6] He created a sculpture of Serbian folk-legend hero Prince Marko for the International Exhibition of Art (1911), which was exhibited along with 73 sculptures at the pavilion of Kingdom of Serbia.[7] When asked about the statue, Meštrović replied "This Marko is our Yugoslav people with its gigantic and noble heart".[6] Meštrović wrote poetry speaking of a "Yugoslav race".[6] Those who knew Meštrović's views referred to him as "The Prophet of Yugoslavism".[6] He also participated in 1911 at the Turin International.

At the onset of World War I, after the assassination in Sarajevo, Meštrović tried to move back to Split via Venice, but was dissuaded by threats made against him because of his political opposition to the Austro-Hungarian authorities. During the war he travelled to present exhibits in Paris, Cannes, London and in Switzerland. He was a founding member of the Yugoslav Committee.

He was the first artist of Croatian origin to exhibit his work at the Victoria & Albert Museum in London, in 1915.[8]

Spearman in Chicago (1928)

After World War I he moved back home to the newly formed Kingdom of Serbs, Croats and Slovenes and met the second love of his life, Olga Kesterčanek, whom he married shortly thereafter. They had four children: Marta, Tvrtko, Maria and Mate, all of whom were born in Zagreb, where Ivan and Olga settled in 1922. He was a contemporary and friend of Nikola Tesla.[9] Meštrović and his family would later spend the winter months in their mansion in Zagreb and the summer months in a summer house he built by the end of the 1930s in Split. He became a professor and later the director of the Academy of Fine Arts in Zagreb, and proceeded to build numerous internationally renowned works as well as many donated chapels and churches and grants to art students.

By 1923 he designed the mausoleum for the Račić Family Memorial Chapel in Cavtat, also known as Our Lady of the Angels.[10] He also created a set of statues for a never-built Yugoslav national temple that would have been erected in Kosovo to commemorate the 1389 Battle of Kosovo.[11]

Statue of Gregory of Nin, in Split, Croatia (1929)

Moses (1952; cast 1990), Syracuse University

Meštrović sculpted numerous sculptures commissioned by the Karađorđević dynasty, especially Alexander I of Yugoslavia. Among the orders of King Alexander are sculptures of a sphinx, Miloš Obilić, Marko Kraljević, the hero of the Kosovo myth Srđa Zlopogleđa, sculptures of female counterparts to Kosovo's heroes, as well as a self-portrait of Meštrović. Most of the commissioned sculptures had the idea of an integral Yugoslav nation as ideological background. Today, the works are mostly located within the royal compound in Dedinje. Meštrović had a role in the constitution of Yugoslav national identity.[12]

He continued to travel to post his exhibits around the world: he displayed at the Brooklyn Museum in New York in 1924, in Chicago in 1925, he even travelled to Egypt and Palestine in 1927. In 1927 he entered a design for the coins of the Irish Free State, and though his design arrived too late for consideration it was adopted in 1965 as the seal of the Central Bank of Ireland.[13]

During the April War in 1941 Meštrović was living in Split. After being warned by novelist and Independent State of Croatia (NDH) minister Mile Budak that the Croatian authorities could not guarantee his safety in Split, he moved to Zagreb in September 1941.[14] Meštrović and painter Jozo Kljaković were arrested by the Ustaše in Zagreb on 7 November 1941, ostensibly due to the regime's fears that the two would emigrate. He eventually served three and a half months in the Savska Cesta prison. With help from archbishop Aloysius Stepinac and subsequently the Vatican he was released, on condition that he travel to Venice to attend the Independent State of Croatia pavilion at the Venice Biennale. From there he relocated to Rome, where he stayed and worked at the Pontifical Croatian College of St. Jerome. He was sponsored here by Fra Dominik Mandić, and during his time in the city was received by Pope Pius XII. In July 1943, Meštrović secured a visa to Switzerland through NDH diplomat Stijepo Perić and moved there. Not all of his family managed to escape — his first wife Ruža died in 1942 and many from her Jewish family were murdered in the Holocaust. Later, his brother Petar was imprisoned for publicly advising Ivan not to return to the country.[15] Looking to create a more favorable image of the newly established socialist regime in Yugoslavia, Marshal Josip Broz Tito's government invited Meštrović to return to the country after World War II ended, but he refused to do so. His decision was final after he received a letter from a high-ranking communist official warning him that he would be given a prominent position such as at a national academy and expected to display complete obedience to the Communist Party.[15] In 1946, Syracuse University offered him a professorship, and he moved to the United States.[16] He became the first artist of Croatian origin to exhibit his work at the Metropolitan Museum of Art in New York City in 1947.[8]

From 1951 he began making contributions to the Croatian emigrant journal Hrvatska revija, which would later publish his memoirs.[17] He was awarded the American Academy of Arts and Letters' Gold Medal for sculpture in 1953.[18] President Dwight D. Eisenhower personally presided over the 1954 ceremony granting Meštrović American citizenship. He went on to become a professor at the University of Notre Dame in 1955.[3]

At the end of January 1951 Meštrović joined the American campaign for the release of Archbishop Stepinac from prison.[19]

Before he died, Meštrović returned to Yugoslavia one last time to visit with the imprisoned Cardinal Stepinac and with Tito. At the request of various people from his homeland he sent 59 statues from the United States to Yugoslavia (including the monument of Petar Petrovic-Njegos), and in 1952 signed off his Croatian estates to the people of Croatia,[20] including more than 400 sculptures and numerous drawings. Upon his return he vowed to his colleague painter Jozo Kljaković that he would not return to the country as long as the communists were in power.[21]

Pieta (1942-46), Basilica of the Sacred Heart, Notre Dame, University of Notre Dame

Two of his children predeceased him. His daughter Marta, who moved with him to the U.S., died in 1949[22] at the age of 24. His son Tvrtko, who remained in Zagreb, was 39 when he died in 1961.

In 1960 he suffered a minor stroke which affected his eyesight. In 1961, his memoir, Uspomene na političke ljude i događaje (Reminiscences of Political People and Events), was published by the Croatian emigrant publishing house Hrvatska revija (Croatian Review) in Buenos Aires, Argentina. In 1969, they were published by Matica hrvatska in Zagreb.

After creating four clay sculptures to memorialize his children, Meštrović died in early 1962, aged 79, in South Bend, Indiana. His funeral mass was celebrated by the bishops of Šibenik, Josip Arnerić, and bishop of Split-Makarska Frane Franić.[23] His remains were interred at a mausoleum in his childhood home of Otavice. Communist Yugoslav authorities had originally promised the Meštrović family that his remains could lie in repose at the cathedrals in Zagreb and Split. Once his remains had arrived in Yugoslavia, however, the authorities reneged and did not allow this to take place. After communist officials interfered during his funeral, his son Mate Meštrović sharply criticized the level of religious freedom in the country.[24]

His son, Mate, is a Croatian-American diplomat, university professor and editor at Time magazine, who served as a lieutenant in the US Army PsyWar. Later, he served as president of the Croatian National Congress and lobbied on behalf of Croatian self-determination in Washington, D.C., Western Europe and Australia, and was a deputy in the Croatian Parliament, a member of Croatia's delegation to the Council of Europe, and the Inter-Parliamentary Union. He also served as an ambassador in the Foreign Ministry.

Meštrović's grandson Stjepan is an American sociology professor at Texas A&M and author of several books.

He wrote essays (Moji razgovori s Michelangelom [My Interviews with Michelangelo], 1926), memoirs about the public and political life of his time (Uspomene na političke ljude i događaje [Memories of Political People and Events], 1969) and short stories (Ludi Mile [Crazy Mile], 1970).

• Stepinac - duhovni heroj (Stepinac - Spiritual Hero), Hrvatska revija, Buenos Aires 1956.
• Uspomene na političke ljude i događaje (Memories of Political Persons and Events), Hrvatska revija, Buenos Aires 1961, reprinted by Matica hrvatska in 1969.