Nasta Rojc

Dobar zaklon (Good Shelter), by Rojc

Rojc began exhibiting in 1909, entering works in the annual of the Hrvatskog društva umjetnosti (Croatian Art Society) in Zagreb, returning in both 1911 and 1913. [2][8] In 1911, she became the first woman to have a solo exhibition at the Salon Ullrich.[16] In 1912, she participated in the Yugoslav Spring Exhibit in Belgrade and the Vienna Art Salon.[2][8] In 1913, Rojc illustrated Ivana Brlić-Mažuranić's first edition of the children's novel Čudnovate zgode šegrta Hlapića (The Brave Adventures of Lapitch). She returned to the Vienna Salon that year,[2] and in 1914, organized an exhibition there focused on women's embroidered handicrafts from Petrinja and Zagreb, her own sculptures, and those of fellow sculptor Mila Wod.[8][17] Her long-range goal was to create a series of exhibitions featuring works from women's folk art associations for Slavic artists in Ljubljana, Lviv, Prague, and other capitals of Eastern Europe. The outbreak of World War I halted her plans[5] and instead she began doing studio work, painting portraits and working on an unpublished autobiography Sjene, svjetlo i mrak (Shadows, Light, and Darkness, 1918–1919).[6][8] Her first commissioned portrait was of the actress Marija Ružička Strozzi in 1914.[11] Rojc participated in a group exhibition at the Strossmayer Gallery of Old Masters in 1917,[18] and held a solo exhibition in Zagreb in 1918.[13] She also hung works in 1920 and 1921 in the exhibitions of the Lada Association,[8] the first artists' organization to be founded in Belgrade.[19]

Na cesti (On the road), painting by Rojc

At the time, Rojc focused on both male and female nudes, painting such works as Kupač s leđa u vrtu Hietzing kraj Beča (Bather from Behind in the Garden of Hietzing near Vienna, 1904–05), Molitelj i Ženski akt (Women's Act of Prayer, 1907), Klečeći ženski akt, (Act of Woman Kneeling, 1908) and portraits of friends including Tanne Hernes (1907), Zoe Borelli (1909). She painted numerous self-portraits and became interested in portraying images of the New Woman.[8] Rojc's self-portraits rejected the ideas of traditional femininity, focusing instead on androgyny.[8][15] They are characterized as having an unusual psychological depth, giving the viewer a sense of the subject's loneliness, seriousness, and secret inner life which was not open to anyone else.[20] According to scholars Vladimir Bjeličić and Dragana Stojanović, her Autoportret s kistom (Self-Portrait with a Brush, 1910),[8] is a challenge to the stereotype of "man-artist-genius", in which Rojc deliberately painted herself in a dark interior to convey her isolation, while holding the paintbrush in her left hand to confirm her non-conformity.[21] She also painted herself dressed in men's clothing,[8] in pieces like Autoportret u lovačkom odijelu (Self-Portrait in a Hunting Suit, 1912) and Ja borac – Ja (Me, the Fighter, 1914).[5][8] Her initial landscapes presented a mix of neo-romantic and Symbolist painting styles, and were primarily panoramic images of Croatia, as in Putnik (Traveler, 1911), Ljetna oluja (Summer Storm, 1913), and Obala kod Novog (Coast Near Novi, 1914). In this period, she also produced small etchings, typically focused on the theme of sorrow. These included Žena svjetionik (Lighthouse Woman, 1907), Glazba, Agonija i Ex libris Nasta Rojc – Autoakt u raljama mačke (Music, Agony and Bookplate of Nasta Rojc – Self-Actions in the Jaws of a Cat, 1908) and Zagrljaj smrti (Embrace of Death, 1912) [8]

During World War I a group of British suffragists, led by the Scottish doctor Elsie Inglis, came to the Balkan peninsula under the auspices of the Scottish Women's Hospitals for Foreign Service.[22] As women were not allowed to serve as military personnel and were restricted to specialties in women and children's health, Inglis organized the Scottish Women's Hospitals to allow women to serve as ambulance drivers, cooks, doctors, nurses, and paramedics at the front.[23][24] Turned down by the War Office, Inglis negotiated with allied governments and was allowed to establish hospitals, initially in France and in the Kingdom of Serbia.[25] The first unit arrived in Serbia in December 1914 and by the spring of 1915, Evelina Haverfield was appointed as administrator of the unit. In turn, Haverfield brought her partner Vera Holme to organize the ambulance and transport services, overseeing both horses and motorized vehicles. Holme had been involved in theater before the war and was the chauffeur of Emmeline Pankhurst. She and Haverfield had a network of lesbian friends in the Scottish Women's Hospitals service.[24]

Rojc painting in her studio circa 1925, photo by Onslow

When they were not working, the personnel organized sing-alongs, guessing games, and theatrical performances.[26] When the Germany Army invaded Serbia, the Scottish Women's Hospital was forced to evacuate, but in 1916 and 1917, another unit operated in Dobrudja, Romania, where Alexandrina Onslow was stationed,[27][28][Notes 2] after her previous service in Belgium and France.[30][31][Notes 3] At the end of the war, Haverfield and Holme returned to Serbia and established an orphanage at Bajina Bašta. Inglis had died in 1917 and Haverfield died three years later. Onslow became the president of the Haverfield Fund for Serbian Children and joined Holme at Bajina Bašta through 1922.[27][28] As they had during the war, in their off-hours the former workers of the Scottish Women's Hospitals met for social evenings and took sailing excursions in the Mediterranean Sea.[32] On one such excursion in the Adriatic Sea, which probably occurred in 1919,[Notes 4] Rojc and Onslow met.[15][33] They began living together as a couple in 1923.[35] Rojc designed and had built a house at 6 Rokov perivoj (lit. 'Roko's Park'),[5] which had more studio space than living areas.[6] They lived openly as a couple there, [35] sharing the home with Rojc's husband until his death in 1939.[36][37][Notes 5] It served as her art studio and a salon, in which other artists and writers, like Brlić-Mažuranić and Marija Jurić Zagorka gathered.[35]

Rojc with opera singer Maja Strozzi-Pečić in London, 1926

In 1924, Rojc and Onslow moved to England, where Rojc painted depictions of the estates of Onslow's friends and landscapes in Scotland.[5][34] Many of the works from this period were painted in a post-impressionist style. Among the landscapes were Duke of Wellington Park (1924), Loch Tay (1924), and London Park (1924–25). She also painted the first ever image of a car by a Croatian painter in Naš auto u Škotskoj (Our Car in Scotland, 1924).[8] In June 1926, she exhibited at the Gieves Art Gallery. A review in The Studio called her landscapes commendable, particularly those with snow scapes, and described them as having "a delicacy of tone adjustment and a truth of effect". According to the reviewer, her portraits and figure studies were more tentative.[39] The success of the exhibition led to an invitation to exhibit the following year with the Women's International Art Club.[5][Notes 6]

The couple returned to Zagreb at the end of 1926 and Rojc exhibited the paintings that had been successful in London in November. The reception was the opposite of her British success, with Croatian critics deriding her work.[34] She accepted the invitation to exhibit with the Women's International Art Club once they agreed to include works by Lina Virant Crnčić and Zdenka Pexidr-Srića and participated in their London annuals in 1927, 1928, and 1929.[5][40] Inspired by the London art club, Crnčić and Rojc invited fellow artists to form the Klub likovnih umjetnica (Women Artists' Club) in 1927.[16] The first association of women artists in Croatia,[5][16][34] it set out to foster all-women exhibitions, promote the development of similar clubs throughout Yugoslavia, and provide public education about art. Proceeds from the exhibitions were used for public lectures.[41]

Approved by the Yugoslav Interior Affairs Ministry in November, the club organized its first exhibition in 1928 at the Art Pavilion, Zagreb.[42] Once again Croatian critics publishing reviews in Narodne novine and other media wrote scathing and misogynistic critiques not only about the exhibits, which they qualified as outdated and not serious art, but about how the works and participants were selected.[35] Rojc wrote a reply which was published in Ženské listy (Women's Pages) countering that the exhibition was organized through a collaborative and respectful process, using a modern method instead of obsolete hierarchical structures and rules.[43] She exhibited at each of the eleven events held by the Women Artists' Club between 1928 and 1940.[8][44] Because of her openly lesbian relationship, Rojc refused to serve as president of the Women Artists' Club, fearing that it might impact the club's reputation or result in negative publicity. Instead, she served as the organization's secretary.[36]

Onslow, whose family were British peers,[45] used her influence with nobles, including Maria of Yugoslavia, to garner patrons for the club, organize international networks, and secure commissioned works for Rojc, one of which was a portrait of King Alexander I.[46] Rojc was also involved with the Little Entente of Women and helped to organize an exhibition in 1938 to show the works of Eastern European women artists in Zagreb.[47] Simultaneously with the event, a retrospective of Croatian women artists who had painted between 1800 and 1914 was set up next to the main exhibit in the Art Pavillian. Rojc was the youngest of the Croatian painters, who included Marija Strümer Bedeković and Slava Raškaj.[48] That year, the Women Artists' Club also hosted a solo exhibition of Rojc and another for the Austrian painter Trude Waehner.[49]

By the end of the 1920s, Rojc's work focused more on nationalistic expression, with landscapes depicting romantic vistas and villages. She also began painting still lifes and animal portraits. Drawing on Dadist and New Objectivity traditions, her 1928 work Naše doba (Our Age) was a social commentary on class, gender, ideology, and race.[8] That year she also made a bronze sculpture, Seljak i Seljanka (Peasant Man and Woman, 1928) and a wood carving, Vjetar (Wind, 1928). Representative of her work in this period are Zima s gavranima (Winter with Ravens, 1926), Moje ruže (My Roses, 1934), Zima u Jurjevskoj (Southern Winter, ca. 1935), Otok Prvić (Prvić Island, ca. 1935), Konj u staji (Horse in the Stable, ca. 1936), and Morski pejzaž (Seascape, 1938).[8]

When World War II broke out, Rojc and Onslow joined the resistance movement. They were reported to the Ustaše, arrested, and sent to prison in 1943. Although afraid they would be shot, Rojc berated their guards as "cowards".[6] Both women became ill and were sent to the prison hospital. Unable to find evidence against them, the couple were released after a few months, but could not return to their home until 1945, when some of their property was returned to them.[7][50] They continued supporting the resistance and opposing the spread of fascism.[6][7] In her later life, Rojc enjoyed gardening, and in particular tended a large rose garden.[37] She continued to produce art works, such as the bronze, Šestinčani (Sestinians, 1940), and paintings, Vješanje u Dubravi (Hanging in Dubrava, ca. 1945), Portret Nadice (Portrait of Nadica, 1948), and U jeseni (In Autumn, 1949).[8] She also wrote a second autobiography, which she completed about 1949.[15] Onslow died at their home on 2 February 1950.[51][Notes 7] Elene Puškarsky served as Rojc's carer in her later years, which were overshadowed by her poverty.[6][5]