Fotografin Dora Kallmus: Ein Fixstern Im Wiener Fin De Siècle - Bild

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Fotografin Dora Kallmus: Ein Fixstern Im Wiener Fin De Siècle - Bild Fotografin Dora Kallmus: Ein Fixstern im Wiener Fin de Siècle - Bild... about:reader?url=https://derstandard.at/2000075764780/Fotografin-Do... derstandard.at Fotografin Dora Kallmus: Ein Fixstern im Wiener Fin de Siècle - Bildende Kunst 2 Minuten Zwischen Sein und Schein: In einem neuen Bildband unterzieht Kunsthistorikerin Monika Faber die expressiven Porträts der Wiener Jahrhundertwendekünstlerin einer Neusichtung Das verbrecherische Nazi-Regime machte aus ihr eine Chronistin der Opfer, der Deportierten, der Vertriebenen. Vor 1938 war Dora Philippine Kallmus (1881-1963) ein Fixstern im Wiener Fin de Siècle, im Universum der Reichen, Schönen, der Intellektuellen, Künstler und Bonvivants. Als die Kallmus alias Madame d'Ora 1907 in der Wipplingerstraße ihr Atelier eröffnete, zählten Emilie Flöge und Gustav Klimt, Arthur Schnitzler, Alma Mahler-Werfel, Anna Pawlowa, Bertha Zuckerkandl, Anita Berber, Lina Loos, Julius Meinl, nahezu alle Größen der Gesellschaft zu den Stammkunden. Sie waren ganz selbstverständlich Teil der bourgeoisen Boheme, die sich narzisstisch fotografisch in Szene setzte und für die Nachwelt verewigen ließ. Nach ihrem Studium – als erste Frau erkämpfte Dora Kallmus Zugang zu den Kursen der Graphischen in Wien, in Berlin bei Nicola Perscheid und im Atelier von Hans Makart – 1 von 2 16.03.2018, 11:43 Fotografin Dora Kallmus: Ein Fixstern im Wiener Fin de Siècle - Bild... about:reader?url=https://derstandard.at/2000075764780/Fotografin-Do... repräsentierten sie und ihr Salon die Moderne und im Sinne der Avantgarde weibliche Emanzipation. Dass daraus eine Allianz mit den Flöge-Sisters, mit Marie Gutheil-Schoder und Lina Loos entsprang, war eine logische Konsequenz. 1938 emigrierte sie nach Paris. Zu ihren neuen Modellen zählten Coco Chanel, Pablo Picasso, die Baronin Rothschild, Josephine Baker et alii. Ihre Porträts waren einzigartig expressiv. Impressiv zeigt Monika Fabers Neusichtung die Bildsprache ihrer ikonografischen Inszenierungen. Persönlich. Emotional. Sinnlich. Erotisch. (Gregor Auenhammer, 13.3.2018) 2 von 2 16.03.2018, 11:43.
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