This is Vukosava Velimirović

Vukosava Vuka Velimirović (June 30, 1888 – December 12, 1965) was the first Serbian female sculptor, children’s writer, illustrator, art critic and translator. She was in the middle of the most notable sculptors of 20th century, gaining international recognition between two world wars.

In her early youth, Vukosava Velimirović wrote songs, fairy tales, drew cartoons for children, rules of clay shape, which became clear at that become old that her cartoon would be marked by art.

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She grew up in an intellectual and patriarchal family, and she had two older brothers who studied in Moscow and St. Petersburg, the other members of the family standard letters about everything kinds of comings and goings and novelties in the world of sciences and arts that they were interested in.

In 1911, the comprehensive family moved to Belgrade, where Vukosava’s father Miloš was transferred. Immediately after arriving in the Serbian capital, Vukosava enrolled at the Arts and Crafts School and there began her artistic life. It is told that Vukosava’s generation of students was one of the most talented, such as Zora Petrović, Jelisaveta Petrović, Nada Đukanović, Olga Golemović, Dara Mićić, Jelena Radaković and many other good artists who attended the thesame school.

Patriarchal Belgrade bureau was changing at the slant of the century, providing a window of opportunity for the “creative talent of women”, whose rise was qualified by philosopher Ksenija Atanasijević in her 1924 essay. At the grow old Vukosava Velimirović, a girl sculptor was attracting great public attention. She was educated in Belgrade, Rome, and Paris, where she spent most of her life with 1918 and 1940 with some good female sculptors, including Camille Claudel. She was a sculptor known for her energetic, small bronze sculptures depicting destitute war orphans. As an artist, she had strong beliefs and felt a habit for artists to Make politically and socially conscious works of art that reflected current endeavors and issues. She spent much of her life lively toward equal rights for Serbian women and a widespread push for equality.

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Around 1924, her most famous pieces, five decorative sculptures caused a sensation afterward they were every time exhibited on the facade of the Vračar Holding Bank at 1 Krunska Street. Facade sculpture was considered a masculine applied discipline, though bearing in mind Velimirović’s creations that notion had to be put to settle for gone and for all. Velimirovič also had a successful career as a portraitist of the European upper classes.

She was married to Count Lisjen de La Martinière, with whom she broke occurring after three years of marriage.

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