Curator: Žaklina Marković Tel.: (011) 2027-185 E-mail: Address: Knez Mihailova 35, 3rd Floor, Office 345



Olga Jevrić was born on September 29, 1922 in Belgrade. She attended the elementary school and lower grades of grammar school at St. Joseph Boarding School in Belgrade, and the upper grades at the 3rd State Girl High School (schools which made an emphasis on modern languages and sciences). She graduated from the Academy of Music, in the class of Professor Ćiril Ličar (1942-1946), and from the Academy of Fine Arts, in the class of Professor Sreten Stojanović (1943-1948). She completed the graduate studies in the class of the same professor (1949). She studied the history of art at the Faculty of Philosophy (1949-1953).

Her works were exhibited for the first time at the Exhibition of student works of the Academy of Fine Arts in Belgrade in 1948, and her first solo exhibition was in Belgrade in 1957. She took part in numerous exhibitions in our country and abroad, as well as in the representative exhibitions of modern Yugoslav art organized abroad. She was elected a member of the Association of Fine Artists of Serbia (ULUS) in 1950, a corresponding member of SASA in 1974, and its full member in 1983.

She went on study visits to Czechoslovakia, Hungary, Italy, Switzerland, Belgium, France, Poland, Austria, Greece, Turkey, Russia, England and the Netherlands, and in 1966 she stayed in the US for a year.

The works of Olga Jevrić were advanced and bold. Even in the early 1950s, the period dominated by figuration, she departed from the story or symbolism in sculpture and turned towards the elements of art, material and abstract expression. She departed most sharply from the achievements of socialist realism that dominated the period. In the beginning she pursued figurative sculpture, only to turn, even more strongly, towards the problem of form, space, material and mass.

Two isolated and linked in style groups are characteristic for the period of her full artistic maturity. The first consists of memorial projects, and the other of free composition in which this memorial component, in the higher sense, evolved to a position, to an impression and a vision of the world, to the definition of state in which the sculpture work of Olga Jevrić was materialized. Departing from the scheme of her first project that more directly relied on a tomb-stone, she had certainly developed the problems of abstract form. It was a risky but far-reaching move.

She was the author of several public memorial busts and monuments dedicated to the resistance in Erdeven. She participated in numerous competitions for public monuments (Prokuplje, Čačak, Novi Sad, Milanovac, Pljevlja, Mauthausen, Svetozarevo, Jajinci, Auschwitz, Niš, Ada, Gnjilane, Zenica, Belgrade). Her memorial projects did not accept a description, a direct evocation of events; they offered solutions in which specific mass arrangements and spatial relations revealed the expressive power. Unexecuted, they had a significant impact on future development of sculpture and spatial compositions of this type.

Olga Jevrić embarked on research in the field of sculpture reaching outstanding results in so-called high modernism, precious for Serbian art, during the entire period of her artistic engagement. She had an opportunity to present the solutions she had achieved in a display at the Yugoslav Pavilion at the 29th Venice Biennale in 1958 and to bring, on this occasion, great attention of the international art community and critics to her work as one of the most authentic protagonist of young European sculpture at the time, as the author of immediately recognizable sculptural language and full artistic physiognomy, and as one of the authors who very explicitly expresses the “spirit of time” in the post-war art.