DOCSLIB.ORG

American University Thesis and Dissertation Template for PC 2016

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

© 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,
Recommended publications
  • Portraits of the Belle Epoque

    Portraits of the Belle Epoque

    Jane Van Nimmen exhibition review of Portraits of the Belle Epoque Nineteenth-Century Art Worldwide 11, no. 1 (Spring 2012) Citation: Jane Van Nimmen, exhibition review of “Portraits of the Belle Epoque,” Nineteenth- Century Art Worldwide 11, no. 1 (Spring 2012), http://www.19thc-artworldwide.org/spring12/ portraits-of-the-belle-epoque. Published by: Association of Historians of Nineteenth-Century Art. Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. Nimmen: Portraits of the Belle Epoque Nineteenth-Century Art Worldwide 11, no. 1 (Spring 2012) Portraits of the Belle Epoque Centro del Carmen, Valencia April 5 – June 26, 2011 CaixaForum, Barcelona July 19 – October 9, 2011 Curators: Tomàs Llorens and Boye Llorens Catalogue Portraits of the Belle Epoque. Essays by Valeriano Bozal, Danièle Devynck, Barbara Guidi, Boye Llorens, Tomàs Llorens, and Pilar Pedraza; biographies by Alicia Izquierdo Ramírez. Madrid: El Viso; Valencia: Generalitat Valenciana, Consorci de Museus de la Comunitat Valenciana; Barcelona: Fundación “la Caixa,” 2011. 272 pp.; 123 color illustrations, 4 b/w; bibliography. ISBN: 978-84-95241-81-8 (English) Retratos de la Belle Epoque ISBN: 978-84-95241-79-5 (Spanish) Retrats de la Belle Epoque ISBN: 978-84-95241-80-1 (Catalan) €55,89 The stunning exhibition Portraits of the Belle Epoque in 2011 resulted from the first collaboration between the Consortium of Museums of the Valencian Community and “la Caixa” Foundation in Barcelona. Tomàs Llorens, co-curator of the show with his son, Boye Llorens, deliberately included the commonplace phrase “Belle Epoque” in the title (fig.
  • Die Letzten Tage Der Menschheit“

    Die Letzten Tage Der Menschheit“

    DIPLOMARBEIT Titel der Diplomarbeit „Die Rolle der Frau in Karl Kraus´ Satire Die letzten Tage der Menschheit“ Verfasserin Anna Winkler angestrebter akademischer Grad Magistra der Philosophie (Mag. phil.) Wien, 2011 Studienkennzahl lt. Studienblatt: A 332 Studienrichtung lt. Studienblatt: Deutsche Philologie Betreuer: Ao. Univ.-Prof. Dr. Murray G. Hall Für Mario und meine Eltern INHALTSVERZEICHNIS EINLEITUNG .............................................................................. 5 Der Forschungsstand und das Forschungsziel ........................................... 6 Die Methode............................................................................................... 9 Die Zitierweise ........................................................................................... 9 1. Die Frau um 1900 ................................................................. 10 1.1. Der Diskurs um die Frau ................................................................ 10 1.1.1. Sigmund Freud und das Rätsel der Weiblichkeit ...................................... 15 1.1.2. Georg Simmel und die weibliche Kultur .................................................. 17 1.1.3. Paul Julius Möbius zur Frauenthematik ................................................... 19 1.1.4. Otto Weininger über Geschlecht und Charakter ....................................... 21 1.1.5. Karl Kraus und Otto Weininger ................................................................ 23 1.1.6. Karl Kraus und die Frau ..........................................................................
  • Notes of Michael J. Zeps, SJ

    Notes of Michael J. Zeps, SJ

    Marquette University e-Publications@Marquette History Faculty Research and Publications History Department 1-1-2011 Documents of Baudirektion Wien 1919-1941: Notes of Michael J. Zeps, S.J. Michael J. Zeps S.J. Marquette University, [email protected] Preface While doing research in Vienna for my dissertation on relations between Church and State in Austria between the wars I became intrigued by the outward appearance of the public housing projects put up by Red Vienna at the same time. They seemed to have a martial cast to them not at all restricted to the famous Karl-Marx-Hof so, against advice that I would find nothing, I decided to see what could be found in the archives of the Stadtbauamt to tie the architecture of the program to the civil war of 1934 when the structures became the principal focus of conflict. I found no direct tie anywhere in the documents but uncovered some circumstantial evidence that might be explored in the future. One reason for publishing these notes is to save researchers from the same dead end I ran into. This is not to say no evidence was ever present because there are many missing documents in the sequence which might turn up in the future—there is more than one complaint to be found about staff members taking documents and not returning them—and the socialists who controlled the records had an interest in denying any connection both before and after the civil war. Certain kinds of records are simply not there including assessments of personnel which are in the files of the Magistratsdirektion not accessible to the public and minutes of most meetings within the various Magistrats Abteilungen connected with the program.
  • „Es Muss Damals in Wien Ganz Interessant Gewesen Sein …“

    „Es Muss Damals in Wien Ganz Interessant Gewesen Sein …“

    2018 90 18 en, Wi in elier At seinem „Es muss damals in in Wien ganz interessant Moser olo gewesen sein…“ oK ien.inf .w www 2 WasKlimt undSchiele für die Malerei bedeuteten,das leistetenGustav Mahler und ArnoldSchönbergfürdasWienerMusikleben. Wirzeigen Ihnen, wo ihr Werk lebendig ist, und wie musikalischeNeuerungeninWiens Talenteschmieden vonheuteentstehen. Liebe Leserin, lieber Leser, Wiebreit das Klangspektrum der Musikstadt ist, verdeutlichen zwei Musikerporträts: „Es muss damals in Wien ganz interessant Thilo Fechner, Bratschist bei den Wiener gewesen sein…“, so beschriebHermann Bahr, Philharmonikern, und DJ undSängerin Joyce Schriftsteller und kritischer Wortführer,die Muniz erzählen vonihrer Liebe zur Musik WienerModerne. In jener Zeit zwischen 1890 und zu Wien. Wirladen Sie ein, Musik mit und 1938bewegten sich Gesellschaftund allen Sinnen zu erleben, veranschaulichen, Kunst zwischen zeitloser Schönheit und den welchenaktuellen Kunstpositionen die Abgründen zweier Weltkriege.Das Portrait WienerFestwochen Geltung verschaffen vonKoloman Moser auf dem Coverdieses und blicken mit einer „Workshopaholic“ rt Journals ist Sinnbild dieser Stimmung. hinter die Kulissen vonEuropas größtem Heute,100 Jahrenach dem Todvon vierder Tanzfestival. wo or bedeutendsten Protagonistender Wiener Moderne –Gustav Klimt, Egon Schiele, Außerdempräsentierenwir ungewöhn- Otto Wagnerund Koloman Moser –sind liche Facetten desWiener Lebensgefühls: —V die Errungenschaften dieser Äraaktueller Mehlspeisenklassiker wie Sachertorte und 18 denn je.Wie modern sie sind,
  • The Ronald S. Lauder Collection Selections from the 3Rd Century Bc to the 20Th Century Germany, Austria, and France

    The Ronald S. Lauder Collection Selections from the 3Rd Century Bc to the 20Th Century Germany, Austria, and France

    000-000-NGRLC-JACKET_EINZEL 01.09.11 10:20 Seite 1 THE RONALD S. LAUDER COLLECTION SELECTIONS FROM THE 3RD CENTURY BC TO THE 20TH CENTURY GERMANY, AUSTRIA, AND FRANCE PRESTEL 001-023-NGRLC-FRONTMATTER 01.09.11 08:52 Seite 1 THE RONALD S. LAUDER COLLECTION 001-023-NGRLC-FRONTMATTER 01.09.11 08:52 Seite 2 001-023-NGRLC-FRONTMATTER 01.09.11 08:52 Seite 3 THE RONALD S. LAUDER COLLECTION SELECTIONS FROM THE 3RD CENTURY BC TO THE 20TH CENTURY GERMANY, AUSTRIA, AND FRANCE With preface by Ronald S. Lauder, foreword by Renée Price, and contributions by Alessandra Comini, Stuart Pyhrr, Elizabeth Szancer Kujawski, Ann Temkin, Eugene Thaw, Christian Witt-Dörring, and William D. Wixom PRESTEL MUNICH • LONDON • NEW YORK 001-023-NGRLC-FRONTMATTER 01.09.11 08:52 Seite 4 This catalogue has been published in conjunction with the exhibition The Ronald S. Lauder Collection: Selections from the 3rd Century BC to the 20th Century. Germany, Austria, and France Neue Galerie New York, October 27, 2011 – April 2, 2012 Director of publications: Scott Gutterman Managing editor: Janis Staggs Editorial assistance: Liesbet van Leemput Curator, Ronald S . Lauder Collection: Elizabeth Szancer K ujawski Exhibition designer: Peter de Kimpe Installation: Tom Zoufaly Book design: Richard Pandiscio, William Loccisano / Pandiscio Co. Translation: Steven Lindberg Project coordination: Anja Besserer Production: Andrea Cobré Origination: royalmedia, Munich Printing and Binding: APPL aprinta, W emding for the text © Neue Galerie, New Y ork, 2011 © Prestel Verlag, Munich · London · New Y ork 2011 Prestel, a member of V erlagsgruppe Random House GmbH Prestel Verlag Neumarkter Strasse 28 81673 Munich +49 (0)89 4136-0 Tel.
  • Historical Painting Techniques, Materials, and Studio Practice

    Historical Painting Techniques, Materials, and Studio Practice

    Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A.
  • More Women Artists You've Never Heard Of

    More Women Artists You've Never Heard Of

    More Women Artists You’ve Never Heard of Early 20th Century Vienna Vienna Moderna • What is Viennese Modernism? A short introduction – YouTube Wien 1900 – Wiener Werkstätte, LEOPOLD MUSEUM • Wien 1900 – Wiener Werkstätte, LEOPOLD MUSEUM - YouTube Designing Women of Der Wiener Werkstatte Der Wiener Werkstatte (1927)Vienna Workshop, established in 1903 by the graphic designer and painter Koloman Moser, the architect Josef Hoffmann and the patron Fritz Waerndorfer [de], was a productive cooperative of artisans in Vienna, Austria. The Werkstätte brought together architects, artists and designers working in ceramics, fashion, silver, furniture and the graphic arts.[1] It is regarded as a pioneer of modern design, and its influence can be seen in later styles such as Bauhaus and Art Deco. Following World War I, the workshop was beset by financial troubles and material shortages. Attempts to expand the workshop's base were unsuccessful, and ultimately it was Charlotte Billwither, Matilde Flogel, Susi forced to close in 1932. Singer, Marianne Leisching, Maria Likarz https://www.mak.at/womenartistsoftheww Why are there so few female artists? – YouTube https://www.youtube.com/watch?v=8rRfo4EVLRM Fierce Women of Art | The Art Assignment | PBS Digital (postcards) Studios – YouTube Fierce Women of Art 2 | The Art Assignment | PBS Digital Marianne Leisching (1896-1971) Maria Likarz (1893-1971) Maria Likarz-Strauss was a very influential designer during her tenure at the Wiener Werkstatte. Extremely prolific, the designer produced nearly 200 designs for the workshop. She is best known for her abstract and geometric patterns. She attended the Applied Arts School between 1911 and 1915. In 1912 she was hired by the Wiener Werkestatte and worked there as a manager until 1932.
  • The Study of the Relationship Between Arnold Schoenberg and Wassily

    The Study of the Relationship Between Arnold Schoenberg and Wassily

    THE STUDY OF THE RELATIONSHIP BETWEEN ARNOLD SCHOENBERG AND WASSILY KANDINSKY DURING SCHOENBERG’S EXPRESSIONIST PERIOD D.M.A. DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Sohee Kim, B.M., M.M. Graduate Program in Music The Ohio State University 2010 D.M.A. Document Committee: Professor Donald Harris, Advisor Professor Jan Radzynski Professor Arved Mark Ashby Copyright by Sohee Kim 2010 ABSTRACT Expressionism was a radical form of art at the start of twentieth century, totally different from previous norms of artistic expression. It is related to extremely emotional states of mind such as distress, agony, and anxiety. One of the most characteristic aspects of expressionism is the destruction of artistic boundaries in the arts. The expressionists approach the unified artistic entity with a point of view to influence the human subconscious. At that time, the expressionists were active in many arts. In this context, Wassily Kandinsky had a strong influence on Arnold Schoenberg. Schoenberg‟s attention to expressionism in music is related to personal tragedies such as his marital crisis. Schoenberg solved the issues of extremely emotional content with atonality, and devoted himself to painting works such as „Visions‟ that show his anger and uneasiness. He focused on the expression of psychological depth related to Unconscious. Both Schoenberg and Kandinsky gained their most significant artistic development almost at the same time while struggling to find their own voices, that is, their inner necessity, within an indifferent social environment. Both men were also profound theorists who liked to explore all kinds of possibilities and approached human consciousness to find their visions from the inner world.
  • Herbstausstellung 2001

    Herbstausstellung 2001

    HERBSTAUSSTELLUNG 2001 VERKAUFSAUSSTELLUNG 21. SEPTEMBER - 30. NOVEMBER 2001 EXHIBITION AND SALE OF WORKS 21ST. SEPTEMBER - 30TH. NOVEMBER 2001 WOLFGANG UND MICHAELA BAUER A-1010 WIEN, MAHLERSTRASSE 15 TEL.: +43/1/512 23 79 FAX: +43/1/512 15 54 www.beletage.com e-mail: [email protected] 3 .... Die im vorigen Herbst von uns veranstaltete „25 Jahre Jubiläumsausstel- lung“ und der hierzu herausgegebene Ausstellungskatalog wurden von unseren Freunden und Kunden überaus positiv aufgenommen. So haben wir wieder, unter großem persönlichen und auch finanziellem Einsatz, eine beachtliche Anzahl erlesenster Kunstobjekte des frühen 20. Jahrhunderts erworben und dürfen Ihnen diese sowohl in unserem neuen Verkaufskatalog als auch in der gewohnten Umgebung unserer Ausstellungsräumlichkeiten vorstellen. Wie sich langsam auch in Wien allgemein herumspricht ist die Wende vom 19. zum 20. Jahrhundert Österreichs bedeutendste kulturge- schichtliche Epoche. Das geballte Zusammentreffen der größten Genies auf allen Gebieten der Kunst und Wissenschaft in Wien war wegweisend für die Moderne des gesamten westlichen Kulturkreises. Alle bedeutenden Kunstgewerbemuseen unserer Erde zeigen mit großem Stolz diese hervorragenden Werke aus Wien. Die Ideen und vor allem auch die ausgeführten Werke der Architekten, der Entwerfer und der Kunstgewerbler sind von derart endgültiger Schönheit und Modernität, dass sie heute noch von vielen Designern entlehnt, wenn nicht gar kopiert werden. So sind wir sehr dankbar dafür ,dass wir durch unsere langjährige Tätigkeit auf diesem Gebiet die Gelegenheit haben, Ihnen aus diesem bedeutenden Schatz österreichischen und im Speziellen wienerischen Schaffens ein paar wirklich herausragende, museale Objekte präsen- tieren zu können. Zugleich möchten wir Sie auch darauf hinweisen, dass nach vielen Querelen und Peinlichkeiten endlich die Sammlung Leopold, die glänzende Krone des Museumsquartiers in Wien am 22.
  • Living War, Thinking Peace (1914-1924)

    Living War, Thinking Peace (1914-1924)

    Living War, Thinking Peace (1914-1924) Living War, Thinking Peace (1914-1924): Women’s Experiences, Feminist Thought, and International Relations Edited by Bruna Bianchi and Geraldine Ludbrook Living War, Thinking Peace (1914-1924): Women’s Experiences, Feminist Thought, and International Relations Edited by Bruna Bianchi and Geraldine Ludbrook This book first published 2016 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2016 by Bruna Bianchi, Geraldine Ludbrook and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-8684-X ISBN (13): 978-1-4438-8684-0 CONTENTS Introduction .............................................................................................. viii Bruna Bianchi and Geraldine Ludbrook Part One: Living War. Women’s Experiences during the War Chapter One ................................................................................................. 2 Women in Popular Demonstrations against the War in Italy Giovanna Procacci Chapter Two .............................................................................................. 26 Inside the Storm: The Experiences of Women during the Austro-German Occupation
  • Alexander Nagel Some Discoveries of 1492

    Alexander Nagel Some Discoveries of 1492

    The Seventeenth Gerson Lecture held in memory of Horst Gerson (1907-1978) in the aula of the University of Groningen on the 14th of November 2013 Alexander Nagel Some discoveries of 1492: Eastern antiquities and Renaissance Europe Groningen The Gerson Lectures Foundation 2013 Some discoveries of 1492: Eastern antiquities and Renaissance Europe Before you is a painting by Andrea Mantegna in an unusual medium, distemper on linen, a technique he used for a few of his smaller devotional paintings (fig. 1). Mantegna mixed ground minerals with animal glue, the kind used to size or seal a canvas, and applied the colors to a piece of fine linen prepared with only a very light coat of gesso. Distemper remains water soluble after drying, which allows the painter greater flexibility in blending new paint into existing paint than is afforded by the egg tempera technique. In lesser hands, such opportunities can produce muddy results, but Mantegna used it to produce passages of extraordinarily fine modeling, for example in the flesh of the Virgin’s face and in the turbans of wound cloth worn by her and two of the Magi. Another advantage of the technique is that it produces luminous colors with a matte finish, making forms legible and brilliant, without glare, even in low light. This work’s surface was left exposed, dirtying it, and in an effort to heighten the colors early restorers applied varnish—a bad idea, since unlike oil and egg tempera distem- per absorbs varnish, leaving the paint stained and darkened.1 Try to imagine it in its original brilliant colors, subtly modeled throughout and enamel smooth, inviting us to 1 Andrea Mantegna approach close, like the Magi.
  • Richard Gerstl Retrospective February 24–May 14, 2017 Preview for the Press: Thursday, February 23, 2017, 11:00 A.M

    Richard Gerstl Retrospective February 24–May 14, 2017 Preview for the Press: Thursday, February 23, 2017, 11:00 A.M

    THE SCHIRN KUNSTHALLE FRANKFURT PRESENTS THE FIRST RETROSPECTIVE IN GERMANY OF THE AUSTRIAN PAINTER RICHARD GERSTL RICHARD GERSTL RETROSPECTIVE FEBRUARY 24–MAY 14, 2017 PREVIEW FOR THE PRESS: THURSDAY, FEBRUARY 23, 2017, 11:00 A.M. He is the “first Austrian Expressionist,” and for many still an insiders’ tip: the painter Richard Gerstl (1883–1908). He only lived to be 25 years old and yet he is mentioned in the same breath as the great masters of Viennese Modernism: Gustav Klimt, Egon Schiele, and Oskar Kokoschka. During his brief life Gerstl created an exciting and unusual, though relatively limited oeuvre with impressive highlights and pioneering innovations. From February 24 to May 14, 2017, the Schirn Kunsthalle Frankfurt will be presenting the first retrospective of Richard Gerstl’s work in Germany. His painting reflects his concern with the contradictions of modern art. He was a rebel whose paintings opposed the Vienna Secession in terms of both style and content; he rejected their concept of beauty and committed himself to an aesthetic of ugliness. Gerstl loved to provoke and painted against the traditional rules in the conviction that he was treading “completely new paths” in art. He created merciless, confident paintings that do not adhere to earlier models and remain unique to this day. His oeuvre is that of a seeker who anticipated much of what was later articulated by other artists, for example in the paintings of Abstract Expressionism during the 1950s. The portrait, especially the self-portrait, nudes, and landscapes are Gerstl’s preferred genres. The exhibition at the Schirn presents, for example, two of his self-portraits: the earliest one, Semi-Nude Self-Portrait (Selbstbildnis als Halbakt) from 1902/04, and his last, Nude Self-Portrait (Selbstbildnis als Akt) from 1908.