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American University Thesis and Dissertation Template for PC 2016 © COPYRIGHT by Olivia Rettstatt 2019 ALL RIGHTS RESERVED BRONCIA KOLLER-PINELL’S MARIETTA, 1907: FACING TRUTH IN THE VIENNA SECESSION BY Olivia Rettstatt ABSTRACT Broncia Koller-Pinell’s Marietta, 1907, an ambitious painting of a female nude, is an outlier within the artist’s oeuvre in terms of both style and genre. This thesis interrogates the painting’s relationship to the canon of Viennese modernism: the work provides an opening-point to consider Koller-Pinell’s relationship to the “Klimt Group,” a faction of artists who in 1905 seceded from the original Secession group, founded in 1897. I argue that Marietta confronts and reinterprets Gustav Klimt’s Nuda Veritas (Naked Truth), 1899, a major icon of the Secession and referent to the nude as a symbol of truth. By questioning the gendering of art and the artist in the Secession, Koller-Pinell pointed directly to the conditions that barred women from full participation in the movement. Further, I discuss the artist’s adaptation of Neo-Byzantine style and Christian iconography in the painting, relating these aspects to religious tensions within Viennese society and to Koller-Pinell’s own identity as a Jewish woman. Lastly, by re- introducing Marietta back into the context of the 1908 Kunstschau alongside Koller-Pinell’s other works, I consider the role gender played in shaping the reception of women’s art. The organizers’ pointed refusal to include Marietta in the exhibition alongside more conventionally “feminine” works by Koller-Pinell illustrates the contradictions within the Secession’s stated aim to break down the borders between art and craft. This thesis thus builds upon recent feminist scholarship on the partial inclusion of women artists in the Secession, as well as the gendering of the artist, genre, and medium in modern Viennese art. ii ACKNOWLEDGMENTS This thesis would not have been possible without support from my family, professors, and especially the loving friends in my cohort. I owe my family everything for their patience, love and support throughout my life and academic career; I only studied abroad in Vienna in 2015 after encouragement from my sister Emily and parents who urged me out of my comfort zone. After the four months I spent in Austria, I promised myself I would return. I did so with the generosity of the Carol A. Ravenal Travel Award and funding from the College of Arts and Sciences. In Vienna I had the great fortune to meet Ms. Mimi Eisenberger, the owner of Marietta and much of Koller-Pinell’s legacy, who played a major role in the development of this thesis. She opened her home and private collection to me, lent me a hard copy of Sieglinde Baumgartner’s dissertation on Koller-Pinell, and even gifted me a hardbound catalog of her collection that I will cherish forever. My advisor, Dr. Juliet Bellow, believed in me and encouraged me to pursue Marietta my first semester of graduate school. She consistently pushed me to ask the difficult questions and not be afraid to express my own scholarly voice. Dr. Andrea Pearson and Dr. Joanne Allen also provided invaluable insight to the iconographical understanding of works I put in conversation with Marietta. My professors’ and cohort’s attentiveness, discerning eyes, patience, and finesse made this thesis what it is. Thank you! iii TABLE OF CONTENTS ABSTRACT .................................................................................................................................... ii ACKNOWLEDGMENTS ............................................................................................................. iii LIST OF ILLUSTRATIONS .......................................................................................................... v INTRODUCTION .............................................................................................................. 1 CHAPTER 1 MARIETTA: THE NAKED TRUTH ......................................................... 10 CHAPTER 2 ICON OF OTHERNESS: RELIGIOUS IDENTITY IN MARIETTA ....... 23 CHAPTER 3 GENDER AND THE 1908 KUNSTCHAU .............................................. 41 CONCLUSION ................................................................................................................. 59 ILLUSTRATIONS ........................................................................................................... 61 BIBLIOGRAPHY ......................................................................................................................... 64 iv LIST OF ILLUSTRATIONS Figure 1: Broncia Koller- Pinell, Marietta, 1907. Oil and gold leaf on canvas............................ 61 Figure 2: Gustav Klimt, Nuda Veritas, 1899, Oil on canvas. ....................................................... 61 Figure 3: Elena Luksch-Makowsky, Adolescentia, 1903. Oil on canvas. .................................... 61 Figure 4: Elena Luksch-Makowsky, Self-Portrait with Son Peter (Ver Sacrum), 1901. Oil on canvas. ............................................................................................................................... 61 Figure 5: 17th Secession installation view, designed by Koloman Moser. Elena Luksch- Makowsky’s Ver Sacrum to the right of the stairs (arrow). .............................................. 61 Figure 6: Sandro Botticelli, (detail) Calumny of Apelles, 1494-5. Tempera on panel .................. 61 Figure 7: Cesare Ripa, Verita, 1603. Ink. .................................................................................... 61 Figure 8: Édouard Debat-Ponsan, La Vérité sortant du puits (Truth Emerging from a well), 1898. ........................................................................................................................................... 61 Figure 9: Gustave Courbet, The Painter’s Studio: A Real Allegory Summing Up Seven Years of My Artistic Life, 1855. Oil on canvas. .............................................................................. 61 Figure 10: Édouard Manet, Olympia, 1863. Oil on canvas. ......................................................... 61 Figure 11: Gustav Klimt, Judith, 1901. Oil and leaf and canvas. ................................................. 61 Figure 12: Gustav Klimt, Portrait of Adele Bloch-Bauer I, 1907. Oil and gold leaf on canvas. .. 61 Figure 13: Auguste-Dominique Ingres, Baronne de Rothschild, 1848. Oil on canvas. ................ 61 Figure 14: Artist unknown, (detail) St. Demetrios between the bishop and eparch, Hagios Demetrios, Macedonia. c. 600 A.D. Mosaic ..................................................................... 61 Figure 15: Artist unknown, (detail) Theodora shown to the far left with a blue square halo, Saint Zeno Chapel, Rome, c. 820, rebuilt 10th century A.D. Mosaic.. ....................................... 61 Figure 16: Artist unknown, (detail) The Ascension, Pope Leo IV with square nimbus, San Clemente, Rome, completed 1123 A.D. Mosaic.. ............................................................ 61 Figure 17: Dieric Bouts, Entombment, c. 1450. Distemper on flax. ............................................. 61 Figure 18: Geertgen tot Sint Jans, Lamentation of Christ, c. 1485-1490. Oil on canvas. ............ 61 Figure 19: Albrecht Dürer, The Entombment, 1511. Woodcut. .................................................... 61 Figure 20: Rosso Fiorentino, Dead Christ, c. 1524-7. Oil on canvas. .......................................... 61 v Figure 21: Édouard Manet, The Dead Christ with Angels, 1864. Oil on canvas. ......................... 61 Figure 22: Mark Antokolsky, Ecce Homo, c. 1873. Bronze. ........................................................ 62 Figure 23: Richard Gerstl, Self-Portrait Against a Blue Background, c. 1905. Oil on canvas. ... 62 Figure 24: Broncia Koller-Pinell, Das Letze Gericht (The Last Judgement), 1903. Oil on linen. 62 Figure 25: Klimt’s room at the 1908 Kunstschau. At far right: Watersnakes II, 1907. Oil on canvas.; center: The Three Ages of Women, 1905. Oil on canvas.; left center Maria Stonborough Wittgenstein, 1905. Oil on canvas. Printed in Deutsche Kunst und Dekoration, 1909. in “Austellung: Kunstschau Wien 1908,” Kunst und Handwerk: Zeitschrift für Kunstgewerbe und Kunsthandwerk seit 1851-1859 (Bayerischer Kunstgewerbe-Verein. Universitats-Bibliothek Heidelberg. http://digi.ub.uni- heidelberg.de/diglit/kuh1908_1909/0154 145. ................................................................. 62 Figure 26: Broncia Koller-Pinell, Meine Mutter, 1907. Oil on linen. .......................................... 62 Figure 27: Gustav Klimt, Flower Garden, 1906. Oil on canvas................................................... 62 Figure 28: Broncia Koller-Pinell, Heinrich Shröder, 1907. Oil on canvas. Reprinted in Agnes Husslein-Arco and Alfred Weidinger, Gustav Klimt und die Kunstschau 1908, 164. ..... 62 Figure 29: Broncia Koller-Pinell. Meine Mutter, c. 1907. Woodblock print................................ 62 Figure 30: Broncia Koller-Pinell, Mädchen mit Rotem Haar (Girl with Red Hair, Esther Großmanm-Stromberg), n.d. Colored woodblock print.................................................... 62 Figure 31: Broncia Koller-Pinell, Marktfrau mit Orangen (marketlady with oranges), n.d. Colored woodblock print. ................................................................................................. 62 Figure 32: Broncia Koller-Pinell, Weiße Rehe (White Does), 1907. Colored woodblock print.. 62 Figure 33: Art for the Child, Room 29 of the 1908 Kunstschau. Reproduced in Hohe Warte. J.g. IV Leipzig and Vienna: 1908,
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