Nasta Rojc

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Jerka Hermina Ljubica Rojc ( ROYTS; 6 November 1883 – 6 November 1964), better known as Nasta Rojc, was a Croatian painter. Born in Bjelovar, she was a sickly child and a misfit. She did not enjoy school or playing with other children, but liked both hunting and horse riding. After she declared in her youth that she was an atheist, her father had her educated in a convent school. Becoming depressed, she was sent to the seaside town of Kraljevica at fifteen, where she met a painter, Branko Šenoa, who inspired her to become an artist. Her father objected, but in exchange for her agreement to learn cooking, he allowed her to attend art school. She studied in Zagreb, Vienna, and Munich, learning to paint, sculpt, and engrave. When her father insisted she marry, Rojc who was a lesbian, entered a lavender marriage with Šenoa, after her father agreed to help her acquire a studio and assist with her living expenses. From 1909 she exhibited works with the Croatian Art Society in Zagreb and was the first woman to have a solo exhibition at the Salon Ullrich. She participated in numerous exhibitions in the capitals of Eastern Europe until…Citește mai mult

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Early life and education Jerka Hermina Ljubica Rojc, known as Nasta, was born on 6 November 1883 in Bjelovar, Kingdom of Croatia-Slavonia, Austria-Hungary, to Slava (née Blažić) and Milan Rojc. Her siblings included Slavica, Ljerka, Slava, Vjera, Milan, and Vladimir, although both Slavica and Ljerka died as young children and were buried at the St. Andrew Cemetery of Bjelovar. Milan was a prominent lawyer, politician, and cultural figure who contributed to establishing secondary education in Croatia. Rojc attended elementary school in her home town. She was a sickly child and did not enjoy schooling or playing with other children, but was an avid horsewoman and hunter. After she had declared that she was an atheist, her father sent her to Sacré Coeur (Sacred Heart), an Ursuline monastery school in Graz. Rojc described the period as "torment". Experiencing rejection and little affection from her family, she became depressed and at fifteen was sent to the seaside town of Kraljevica to recuperate. While there she met the painter Branko Šenoa and their friendship spurred her interest in painting. Her father allowed her to return to Bjelovar where she attended the Realgymnasium of Bjelovar for two years, and began studying painting with Josip…Citește mai mult

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Early (1909–1923) 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. In 1911, she became the first woman to have a solo exhibition at the Salon Ullrich. In 1912, she participated in the Yugoslav Spring Exhibit in Belgrade and the Vienna Art Salon. 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, 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. 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 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). Her first commissioned portrait was of the actress Marija Ružička Strozzi in 1914. Rojc participated in a group exhibition at the Strossmayer…Citește mai mult

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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. Rojc's self-portraits rejected the ideas of traditional femininity, focusing instead on androgyny. 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. According to scholars Vladimir Bjeličić and Dragana Stojanović, her Autoportret s kistom (Self-Portrait with a Brush, 1910), 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. She also painted herself dressed in men's clothing, in pieces like Autoportret u lovačkom odijelu (Self-Portrait in a Hunting Suit, 1912) and Ja borac – Ja (Me, the Fighter, 1914). Her…Citește mai mult

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War-time relationships 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. 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. 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. 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.

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When they were not working, the personnel organized sing-alongs, guessing games, and theatrical performances. 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, after her previous service in Belgium and France. 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. 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. On one such excursion in the Adriatic Sea, which probably occurred in 1919, Rojc and Onslow met. They began living together as a couple in 1923. Rojc designed and had built a house at 6 Rokov perivoj (lit. 'Roko's Park'), which had more studio space than living areas. They lived openly as a couple there, sharing the home with Rojc's husband until his death in 1939. It served as her…Citește mai mult

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In 1924, Rojc and Onslow moved to England, where Rojc painted depictions of the estates of Onslow's friends and landscapes in Scotland. 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). 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. The success of the exhibition led to an invitation to exhibit the following year with the Women's International Art Club.

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Yugoslavia (1926–1940) 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. 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. Inspired by the London art club, Crnčić and Rojc invited fellow artists to form the Klub likovnih umjetnica (Women Artists' Club) in 1927. The first association of women artists in Croatia, 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. Approved by the Yugoslav Interior Affairs Ministry in November, the club organized its first exhibition in 1928 at the Art Pavilion, Zagreb. 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. Rojc…Citește mai mult

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Later life (1940–1964) 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". 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. They continued supporting the resistance and opposing the spread of fascism. In her later life, Rojc enjoyed gardening, and in particular tended a large rose garden. 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). She also wrote a second autobiography, which she completed about 1949. Onslow died at their home on 2 February 1950. Elene Puškarsky served as Rojc's carer in her later years, which were overshadowed by her poverty.

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Death and legacy Rojc died on her birthday in 1964 and was buried beside Onslow in a joint tomb in Mirogoj Cemetery. Five years after her death, a retrospective showing of her work was presented in Bjelovar. Despite her prominence and dedication to civic works, the historian Leonida Kovač stated that Rojc was forgotten and "erased from the history of modern art in Croatia". After her death, Rojc's work was preserved by Puškarsky, and then protected by the collector Josip Kovačić. Along with her house and furnishings, her manuscripts were purchased by the family of the artist Davor Preis, who uses her studio, lives in the house, and cared for Puškarsky until her death. Almost immediately following the breakup of Yugoslavia, Rojc's writings and those of other Croatian lesbians began to be discussed by scholars, although her autobiographies have not been published. In 2019, plans were underway to publish Rojc's first autobiography with the Miroslav Krleža Institute of Lexicography, when editing was completed by Ana Šeparović. Her photographic albums have been preserved but are not available to the public. Her photographs document women active in the women's suffrage movement in the Balkans, Romania, and Serbia from the late Belle Époque…Citește mai mult