Katarina Ivanović (Veszprem, 15 May 1811 - Stolni Beograd, 22 September 1882) was a Serbian painter, one of three painters (besides Mina Karadžić and Poleksija Todorović) who worked in Serbia in the 19th century.
Katarina Ivanović was born in the family of a Serbian citizen and merchant ("buyer") in Veszprem, in the Austrian Empire. According to another source, she was born in Stolni Beograd in 1819. Her parents were Lazar - a local customer and Marija, and thanks to their attention, she developed a desire for education and creativity. At the age of eleven, she already knew two foreign languages. She spent her childhood in a small Serbian community, in Stolni Beograd. She showed her talent from childhood, and she started learning painting thanks to the financial help of the local merchant George Stankovic, in Pest in the studio of Jozef Peski and Revaj. According to another source, the painter N. On foot, he was Czech by nationality, and Katarina made good progress with him. Later, her gift for fine arts was noticed by the Hungarian Countess Chaki, a well-known patron of the arts, who enabled her to study painting in Vienna, at the Academy of Arts, where women at that time did not have access. She also studied privately with the Viennese painter Waldmiller. In 1837, Simo Milutinović Sarajlija published a poem dedicated to her in the "Serbian People's Gazette", as "An honorable and ordinary lover of beautiful knowledge". She appears in the list of renumbered Sarajlija's book on the history of Serbia in 1837, in Vienna as a portraitist. During her studies in Vienna, in 1839, she "painted" the composition "Srpski Omir" (Homer) - a blind old guslar. She continued her education at the Academy in Munich, where she studied historical painting for almost two years (1845-1846). There she began the study of the famous historical composition Liberation of Belgrade in 1806. She continued her training in Paris, where she lived for a while.
She visited Zagreb and Croatia in 1842, and spent some time there. At the invitation of the Serbs, in 1846 he went to Belgrade, where he remained for a year, living with Simo Milutinović. She used her stay to portray many prominent Serb Belgraders, including Princess Ljubica Obrenović. Among the most successful portraits is the portrait of Simin. She then returned to Pest, where she was "very popular". Pestans