a "Yugoslav race". Those who knew Meštrović's views referred to him as "The Prophet of Yugoslavism". He also participated in 1911 at the Turin International. First World War and Yugoslavia At the onset of World War I, after the assassination in Sarajevo, Meštrović tried to move back to Split via Venice, but was dissuaded by threats made against him because of his political opposition to the Austro-Hungarian authorities. During the war he travelled to present exhibits in Paris, Cannes, London and in Switzerland. He was a founding member of the Yugoslav Committee. He was the first artist of Croatian origin to exhibit his work at the Victoria & Albert Museum in London, in 1915. After World War I he moved back home to the newly formed Kingdom of Serbs, Croats and Slovenes and met the second love of his life, Olga Kesterčanek, whom he married shortly thereafter. They had four children: Marta, Tvrtko, Maria and Mate, all of whom were born in Zagreb, where Ivan and Olga settled in 1922. He was a contemporary and friend of Nikola Tesla. Meštrović and his family would later spend the winter months in their mansion in Zagreb and the summer months in a summer house he built by the end of the 1930s in Split. He became a professor and later the director of the Academy of Fine Arts in Zagreb, and proceeded to build numerous internationally renowned works as well as many donated chapels and churches and grants to art students. By 1923 he designed the mausoleum for the Račić Family Memorial Chapel in Cavtat, also known as Our Lady of the Angels. He also created a set of statues for a never-built Yugoslav national temple that would have been erected in Kosovo to commemorate the 1389 Battle of Kosovo. Meštrović sculpted numerous sculptures commissioned by the Karađorđević dynasty, especially Alexander I of Yugoslavia. Among the orders of King Alexander are sculptures of a sphinx, Miloš Obilić, Marko Kraljević, the hero of the Kosovo myth Srđo Zlopogleđa, sculptures of female counterparts to Kosovo's heroes, as well as a self-portrait of Meštrović. Most of the commissioned sculptures had the idea of an integral Yugoslav nation as ideological background. Today, the works are mostly located within the royal compound in Dedinje. Meštrović had a role in the constitution of Yugoslav national identity. He continued to travel to post his exhibits around the world: he