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Becoming Artists: Self-Portraits, Friendship Images and Studio Scenes by Nordic Women Painters in the 1880S (Diss

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Becoming Artists: Self-Portraits, Friendship Images and Studio Scenes by Nordic Women Painters in the 1880S (Diss Carina Rech, Becoming Artists: Self-Portraits, Friendship Images and Studio Scenes by Nordic Women Painters in the 1880s (diss. Stockholm 2021) Edition to be published electronically for research, educational and library needs and not for commercial purposes. Published by permission from Makadam Publishers. A printed version is available through book stores: ISBN 978-91-7061-354-8 Makadam Publishers, Göteborg & Stockholm, Sweden Upplaga för elektronisk publicering för forsknings-, utbildnings- och biblioteksverksamhet och ej för kommersiella ändamål. Publicerad med tillstånd från Makadam förlag. Tryckt utgåva finns i bokhandeln: ISBN 978-91-7061-354-8 Makadam förlag, Göteborg & Stockholm www.makadambok.se becoming artists CARINA RECH Becoming Artists Self-Portraits, Friendship Images and Studio Scenes by Nordic Women Painters in the 1880s makadam makadam förlag göteborg · stockholm www.makadambok.se This book is published with grants from Gunvor och Josef Anérs stiftelse Gerda Boëthius’ minnesfond Stiftelsen Konung Gustaf VI Adolfs fond för svensk kultur Kungl. Patriotiska sällskapet Torsten Söderbergs stiftelse Berit Wallenbergs stiftelse Åke Wibergs stiftelse Becoming Artists: Self-Portraits, Friendship Images and Studio Scenes by Nordic Women Painters in the 1880s Academic dissertation for the Degree of Doctor of Philosophy in Art History at Stockholm University, to be publicly defended on Friday 4 June 2021 © Carina Rech 2021 Cover image: Bertha Wegmann, The Artist Jeanna Bauck, 1881, detail of fig. 60. Photo: Nationalmuseum. © for illustrations, see list of figures on p. 436 isbn 978-91-7061-854-3 (pdf) table of contents Acknowledgments 7 Introduction 11 Aim and Research Questions 13 Artists, Locations and Social Fabric 15 Material 21 The 1880s in Nordic Art – Professionalization, Mobility and Transnational Encounters 28 Theories and Methods 34 Previous Research 54 Outline 62 I. The Self-Portrait 65 The Salon Debut 66 Emulation as Admiring Rivalry 72 From Stockholm to Paris 74 Emulating the Past and the Present 77 Strategies of Self-Promotion 80 Ma(s)king Claims in Historical Perspective 85 Julia Beck’s Internationalism 92 Organizing Her Legacy 99 II. The Friendship Image 101 The Friendship Image as Genre Category 103 Women’s Friendships in the Nineteenth Century 106 Professional and Emotional Community 110 Corresponding Lives: Jeanna Bauck, Hildegard Thorell and Bertha Wegmann 118 Doubled Portrait 140 From Exceptional Woman to Team-Mate 150 The Interior as Friendship Image 155 Fashioning Two Versions of Jeanna Bauck 161 Collaborative Practice and Dual Authorship 184 III. The Studio Scene 199 The Studio as Imagined and Lived-In Space 202 The Appropriation of the Working Studio 217 The Touch of Clay 229 Venny Soldan as Worker-Artist 235 The Paragone of the Sister Arts 240 Eva Bonnier’s Studio Interior: An Allusion to Pygmalion 243 The Sitter’s Share or the Sitter’s Risk 252 The Self-Portrait Extended into Space 255 Concluding Discussion 267 Notes 275 Swedish Summary 387 Bibliography 395 List of Figures 436 Index of Names 442 Acknowledgments Over the course of researching and writing this book – one that examines artistic communities defined by intellectual and creative engagement and affective bonds – I have had the good fortune to have been welcomed into similarly enriching academic circles. Working on this dissertation has been intimately intertwined with the five years I have been living in Sweden, and many of the peo- ple I have met since my arrival have played a part in this research project. Along the way I have accrued many debts to colleagues, organizations, friends and family: First of all, I would like to thank my fabulous advisors Sabri- na Norlander Eliasson and Jessica Sjöholm Skrubbe for unflag- ging support, intellectual brilliance and scrupulous readings of the manuscript in all its stages. My deep-felt gratitude goes to Karin Sidén, Director General at Prins Eugens Waldemarsudde, for her trust and encouragement, and for giving me the unique opportu- nity to be both a PhD candidate and a curator. Warm thanks to all my dear colleagues and friends at Waldemarsudde for cheering me along the way. I am enormously grateful to Katarina Wadstein Mac Leod who has simply been the best opponent for the final seminar I could have wished for, and many thanks to Andrea Koll- nitz for the diligent final review of the manuscript. Warm thanks are due to my colleagues at the department of art history at Stockholm University. My dear friend Elin Andersson has tirelessly commented on this manuscript and helped me sharpen my theoretical arguments. Hanna Bäckström, Birte Bruchmüller, Sara Callahan, Marta Edling, Peter Gillgren, Lotta Granqvist, Ylva Haidenthaller, Elin G. Håkansson, Emma Jansson, Dan Karlholm, Fredrik Krohn Andersson, Catharina Nolin, Elin Manker, Tanja 7 Schult, Mårten Snickare, Jeff Werner and Mia Åkestam have gen- erously shared their expertise and regularly commented on this manuscript in the context of the High Seminar, the National PhD Seminar and beyond. I would like to thank Tomas Björk for sharing his enormous expertise on nineteenth-century art with me and Anne Wichstrøm, Lena Holger and Hans Henrik Brummer for their kind interest in my project. Charlotta Krispinsson has been a great colleague and friend from the first day of my arrival in Stockholm and has taught me how to apply for grants in Sweden, which is why this book looks so pretty! Elizabeth Doe Stone, my dear friend, thank you for sharing the passion for the nineteenth century with me and for answer- ing all my questions, both the trivial and the intellectual ones. My colleague and friend MaryClaire Pappas has diligently comment- ed on this manuscript in its final stages. I am deeply grateful to my colleague Emilie Boe Bierlich in Copenhagen for an inspiring dialogue on Bertha Wegmann. The research by my friend Anna- Carola Krausse on the German-Swedish painter Lotte Laserstein has inspired me to become a scholar myself. Thank you for all your encouragement! Øystein Sjåstad has helped me during my research trips to Oslo and invited me to submit a paper to Kunst og Kultur. Nicholas Parkinson has assisted me to find my way through the French archives and their digital collections. Warm thanks are also due to Görel Cavalli-Björkman for helping me to get access to the Bonnier family archives, and to Anna Meister at Waldemarsudde for proofreading my Swedish transcriptions and for putting me in contact with relatives of artists whose private archives have proven essential for this project. I am grateful to Patricia G. Berman for putting me in contact with the Ambassador John L. Loeb Jr. Dan- ish Art Collection. Catharina Nolin, Thomas Elbæk-Jørgensen and Sine Krogh have helped me with my transcriptions and translations of let- ters by Danish artists. Jostein Svanemyr has double-checked my Norwegian transcriptions. At an early stage in this project, Karin Borgkvist Ljung at Riksarkivet has taught me how to read Bertha Wegmann’s at times hopelessly difficult handwriting. Thank you all so much! My work has profited enormously from research undertaken in numerous museums and archives and I would like to thank all the institutions that have allowed me to study the artworks in their col- 8 lections, to conduct research in their archives and to reproduce their images. Special thanks are due to Eva-Lena Bengtsson at Konst- akademien for welcoming me to her tiny but vast archive and for generously sharing her encyclopedic knowledge of the nineteenth century and its women artists. Many thanks to Carl-Johan Olsson at Nationalmuseum for his enthusiastic support of this project and for taking me to the museum storages, Eva-Lena Karlsson for giv- ing me my first job in Sweden as a museum educator at Gripsholm Castle where the idea for this project took shape, Linda Hinners for inviting me to participate in Nationalmuseum’s research project on women sculptors, Martin Olin for editing my article in RIHA Jour- nal and Magnus Olausson for helping me out with an essential im- age which I would not have been able to reproduce otherwise. I am grateful for the collaboration on Bertha Wegmann with Gertrud Oelsner and Lene Bøgh Rønberg at the Hirschsprung Collection in Copenhagen. Many thanks to Knut Ljøgodt who invited me to a gentlemen’s club with a marvelous art collection, and to Vibeke Waallann Hansen at Nasjonalmuseet in Oslo, Sara Hemmingsson at Kalmar konstmuseum, Kristoffer Arvidsson and Eva Nygårds at Göteborgs konstmuseum, Charlotta Nordström at Thielska Gal- leriet, Mette Bøgh Jensen at Skagens kunstmuseer, Maria Maxén at Nordiska museet, Veronica Olofsson at Anna Nordlander Museum and Harald Larsen in Skellefteå. Julie Arendse Voss at Bruun Rasmussen Kunstauktioner has provided images of works by Bertha Wegmann in private own- ership and Pedro Westerdahl at Bukowskis has helped me get in contact with private collectors. My deep-felt gratitude goes to the relatives of artists who have shared their memories, artworks and private archives with me and to the private owners of artworks who welcomed me to their homes. I want to thank in particular Agne- ta and Hanna Pauli, Sylva and Håkan Bengtsson, Charlotte and Fredrik Klingberg and Lars Lodmark. I am grateful to Lars Engelhardt and Lars Edelholm at Walde- marsudde for their help with image editing and photography of archive material and artworks in private ownership. Thanks a lot to Erik Hungler at the Department for Culture and Aesthetics for helping me with the administrative work involved in publish- ing this book, and to Tove Marling Kallrén and her colleagues at Makadam förlag for turning the manuscript into such a beautiful book. Many thanks to my friend Victoria Louise Steinwachs for looking after our Berlin home. 9 I am grateful to my family: my dear father Herbert who fol- lowed me around countless museums in Europe, my mother Mon- ika and my best friend Manfred who share my love for art and old things, my sister Bianca, my grandmother Agnes and my parents- in-law Erika and Wolfgang.
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