Around the same time, Rojc met a group of lesbians who had worked for the Scottish Women's Hospitals for Foreign Service during the war in Serbia and Sarajevo.

Almost immediately after Croatian independence a retrospective of her work was presented and scholars began evaluating Rojc's two autobiographies, her correspondence within her international lesbian network, and her photographic archive.

Historian Leonida Kovač published a book analyzing Rojc's legacy in 2010, recognizing that it was innovative and pushed the boundaries of socio-cultural norms.

[8] The following year, Rojc moved to Vienna, Austria, and enrolled at the Kunstschule für Frauen und Mädchen [de] (Art School for Women and Girls).

[2][8] Simultaneously, she took lessons at the private school run by Moritz Heymann [de], where she met Miroslav Kraljević, among other painters who were part of what was known as the Munich Circle.

[11] Returning to the Vienna Art School for Women, in 1908 she began to study sculpture,[3] copper engraving, and carving with Ludwig Michalek and Otto König [de].

[8][12][13] To continue her chosen career as a painter, Rojc agreed to marry Šenoa in 1910,[3][Notes 1] on the condition that her father provided her with adequate living expenses and a studio.

[2][3][12] 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.

[2][8] 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,[2] 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 [hr].

[8][17] 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.

[19] 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).

[20] According to scholars Vladimir Bjeličić and Dragana Stojanović, her Autoportret s kistom (Self-Portrait with a Brush, 1910),[8] 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.

[5][8] Her initial landscapes presented a mix of neo-romantic and Symbolist painting styles, and were primarily panoramic images of Croatia, as in Putnik (Traveler, 1911), Ljetna oluja (Summer Storm, 1913), and Obala kod Novog (Coast Near Novi, 1914).

These included Žena svjetionik (Lighthouse Woman, 1907), Glazba, Agonija i Ex libris Nasta Rojc – Autoakt u raljama mačke (Music, Agony and Bookplate of Nasta Rojc – Self-Actions in the Jaws of a Cat, 1908) and Zagrljaj smrti (Embrace of Death, 1912) [8] 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.

[23][24] 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.

In turn, Haverfield brought her partner Vera Holme to organize the ambulance and transport services, overseeing both horses and motorized vehicles.

[26] 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 [wikidata] was stationed,[27][28][Notes 2] after her previous service in Belgium and France.

[34] 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 [hr] and participated in their London annuals in 1927, 1928, and 1929.

[16] The first association of women artists in Croatia,[5][16][34] it set out to foster all-women exhibitions, promote the development of similar clubs throughout Yugoslavia, and provide public education about art.

[42] 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.

[35] Rojc wrote a reply which was published in Ženské listy (Women's Pages) countering that the exhibition was organized through a collaborative and respectful process, using a modern method instead of obsolete hierarchical structures and rules.

[36] Onslow, whose family were British peers,[45] used her influence with nobles, including Maria of Yugoslavia, to garner patrons for the club, organize international networks, and secure commissioned works for Rojc, one of which was a portrait of King Alexander I.

Drawing on Dadist and New Objectivity traditions, her 1928 work Naše doba (Our Age) was a social commentary on class, gender, ideology, and race.

[13] 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".

[9] Similarly, her correspondence with Holme, which took place over decades, provides tangible proof of queer history in the region and has offered scholars clues to historic terminology and codes used by lesbians in their relationships.

Kovač published Anonimalia: normativni diskurzi i samoreprezentacija umjetnica 20. stoljeća (Anonymalia: Normative Discourses and Self-Representation of 20th Century Artists) in 2010, in which she confirmed Rojc as one of the Munich Circle, recaptured her place as an important Croatian painter, and evaluated the avant-garde elements of her works.

[11] A smaller collection of fifty-three paintings was exhibited at the Palais Porcia, Vienna between March and April 2017 in honor of the Year of Croatian Culture and Art in Austria festivities.

Kovač, an art historian, studied the unpublished autobiography from the end of World War I and letters written by Rojc, held in private collections, and then invited graduate student Mušćet to illustrate the text.

[6] In 2020, in the first all-woman exhibition held in Croatia since its independence, her works were featured, along with those of other Croatian painters, in a two-month long show at the Art Pavilion.