Elisaveta Georgieva Konsulova-Vazova (Bulgarian: Елисавета Георгиева Консулова-Вазова; 4 December 1881 – 29 August 1965) was one of the first women to become a professional artist in Bulgaria.

Elisaveta Konsulova was born on 4 December 1881 Plovdiv, in Eastern Rumelia of to Anna (née Hadjiyenova) and Georgi Konsulov.

[1][2] Her father was a merchant from Levski had in his early life been exiled to İzmir for political activities the 1860s, and supported the liberation of Bulgaria.

Konsulova was one of six children, including Nicholas, who would become governor of Gorna Dzhumaya; Stefan, who became a scientist; Elisaveta; Nedialka; Mara; and Karanfilais.

While the men studied anatomy on live models, the women are allowed only to sketch muscles and bones from modestly draped, plaster sculptures.

[2][5] Konsulova graduated in 1902 and though she wanted to continue her studies abroad, she was unable to do so due to her father's death and the need for her to provide financial support for the family.

[2][4] During the First Balkan War, Konsulova-Vazova became a Red Cross volunteer, nursing cholera patients in Lozengrad and Yambol after the First Battle of Çatalca.

Selling all of the works from the show, she was inspired to found a "Native Art" company in which she gave lessons on plein air painting.

Konsulova-Vazova began publishing articles evaluating trends in contemporary art, finding most of the avant-garde movements like Abstract, Cubism, Dadism, to be confused and expressed that they represented a "hatred for the values of the past".

[2] Konsulova-Vazova was one of the founders of the "Slavia Beseda" Native Art Association, which included Karamihaylova, Konstantin Shtarkelov, Syrak Skitnik [bg], and others.

This gave them the idea of creating a Bulgarian puppet theater, transforming the European art form into a national cultural staple.

The group incorporated some of the Turkish traditions in their Bulgarian theater, with women sewing the native costumes and architect Atanas Donkov, carving the puppets.

She wrote about women's political involvement, innovations in hygiene and nutrition, parenting, equal access to education, and critical evaluations of art and culture.

[10] Numerous posthumous exhibitions of her work have been shown throughout the world in places as far flung as Paris, Prague, São Paulo, and Warsaw.