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Else Alfelt, Lotti Van Der Gaag, and Defining Cobra

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Else Alfelt, Lotti Van Der Gaag, and Defining Cobra WAS THE MATTER SETTLED? ELSE ALFELT, LOTTI VAN DER GAAG, AND DEFINING COBRA Kari Boroff A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2020 Committee: Katerina Ruedi Ray, Advisor Mille Guldbeck Andrew Hershberger © 2020 Kari Boroff All Rights Reserved iii ABSTRACT Katerina Ruedi Ray, Advisor The CoBrA art movement (1948-1951) stands prominently among the few European avant-garde groups formed in the aftermath of World War II. Emphasizing international collaboration, rejecting the past, and embracing spontaneity and intuition, CoBrA artists created artworks expressing fundamental human creativity. Although the group was dominated by men, a small number of women were associated with CoBrA, two of whom continue to be the subject of debate within CoBrA scholarship to this day: the Danish painter Else Alfelt (1910-1974) and the Dutch sculptor Lotti van der Gaag (1923-1999), known as “Lotti.” In contributing to this debate, I address the work and CoBrA membership status of Alfelt and Lotti by comparing their artworks to CoBrA’s two main manifestoes, texts that together provide the clearest definition of the group’s overall ideas and theories. Alfelt, while recognized as a full CoBrA member, created structured, geometric paintings, influenced by German Expressionism and traditional Japanese art; I thus argue that her work does not fit the group’s formal aesthetic or philosophy. Conversely Lotti, who was never asked to join CoBrA, and was rejected from exhibiting with the group, produced sculptures with rough, intuitive, and childlike forms that clearly do fit CoBrA’s ideas as presented in its two manifestoes. Examining Alfelt’s and Lotti’s individual roles within CoBrA through the feminist art theories of Linda Nochlin and Laura Mulvey, writings by scholars and art historians, and exhibitions and collections, I focus on individual and institutional influences, and patriarchal contexts that shaped these two artists’ status in relation to CoBrA membership. In doing so, I also pose questions about who belongs in any art movement, and who gets to decide who belongs, and how all of this is defined complexly over time. iv ACKNOWLEDGMENTS Throughout my research process I have gained a lifelong passion for the CoBrA art movement. Under the guidance of Dr. Katerina Ruedi Ray and Dr. Andrew Hershberger, I took two independent study courses on the CoBrA movement prior to writing this thesis, which helped me tremendously in my research. My deepest gratitude goes to my committee members Dr. Ruedi Ray, Dr. Hershberger, and Professor Mille Guldbeck. It is through their insight, and motivation, that my thesis became possible. In addition, I would like to thank Professor Guldbeck for her devoted and excellent translations of Danish texts into English. Also, with the encouragement of Dr. Ruedi Ray, I was able to visit the Nova Southeastern University Art Museum in Fort Lauderdale, Florida, which houses the largest collection of CoBrA art in North America. This trip was invaluable to me personally and it provided me with primary source material that was imperative to my research. In particular, I am grateful to Dr. Barbara Lynes, Sunny Kaufman Senior Curator, and the kind staff from the NSU Art Museum for allowing me access to their archives and private collection. I also would like to express my sincere gratitude to all of the faculty members at the BGSU School of Art who have encouraged me and offered their guidance. I especially would like to thank Librarian Amy Fry, BGSU’s Electronic Resources Coordinator, for meeting with me and helping me find sources. I would like to thank Professor Michael Arrigo, Graduate Coordinator for the School of Art, for assisting me through this entire process. Also, I am grateful to Dr. Allie Terry-Fritsch, Dr. Rebecca Skinner-Green, Dr. Sean Leatherbury, and Professor Ruthy Light for their encouragement. Finally, I would like to acknowledge the support of my family: my husband Jason Himes, whose patience, encouragement, and creativity continues to inspire me; and to my two stepchildren Dorian and Jacob Himes, whose presence in my life has given me so much love and meaning. v TABLE OF CONTENTS Page INTRODUCTION ................................................................................................................. 1 IN BUT NOT IN: ELSE ALFELT ........................................................................................ 8 OUT BUT NOT OUT: LOTTI VAN DER GAAG ............................................................... 13 PATRIARCHY ...................................................................................................................... 17 MANIFESTO ONE: LA CAUSE ÉTAIT ENTENDUE (THE MATTER WAS SETTLED) .... 22 MANIFESTO TWO: CONSTANT’S MANIFESTO ............................................................ 26 SCHOLARS AND ART HISTORIANS ............................................................................... 33 EXHIBITIONS, COLLECTIONS, AND COLLECTORS ................................................... 38 CONCLUSION: WAS THE MATTER SETTLED? ............................................................ 43 BIBLIOGRAPHY .................................................................................................................. 48 APPENDIX A: FIGURES ..................................................................................................... 53 1 INTRODUCTION The CoBrA art movement (1948-1951) stands prominently among the few European avant-garde groups formed in the aftermath of World War II.1 The artwork that CoBrA created reflected a turbulent era in which artists longed for a new way of life.2 The group emerged in the moment when naïve optimism was essential to distancing oneself from the legacy of war, when individuals sought a better future, and when hope grew stronger that international collaboration could produce a new society.3 As an international movement, with artists representing the cities of Copenhagen, Brussels, and Amsterdam (the name CoBrA derives from the three cities’ initials), the work of CoBrA is often characterized by direct, spontaneous expression and a rebellion against the dominant culture of the bourgeoisie. Their artwork reflected a return to what they saw as an expression of the fundamental creativity present in human existence. Taking their inspiration from children’s art, from the art of so-called “primitives,” and from art of the mentally unstable, CoBrA artists wanted to “start again like a child.”4 Although all of those influences had been explored together before, through the work of Jean Dubuffet (1901- 1985) and the German Expressionists, most notably Paul Klee (1879-1940), the work of CoBrA remained and continues to be distinctive because of the group’s international collaboration. The alliances between the artists of Copenhagen, Brussels, and Amsterdam helped strengthen the 1 There are several different ways that CoBrA has been spelled: Cobra, COBRA, and CoBrA. Adhering to its acronym, comprised of the first one or two letters of the capital cities of its members’ nations, it will be referred to as CoBrA in this thesis. 2 Willemijn Stokvis, Cobra: The History of a European Avant-Garde Movement 1948-1951 (Rotterdam: nai010 Publishers, 2017), 7. 3 Willemijn Stokvis, Cobra: An International Movement in Art after the Second World War (New York: Rizzoli International Publications Inc., 1988), book sleeve. 4 Eleanor Flomenhaft, The Roots and Development of Cobra Art (Hempstead: The Fine Arts Museum of Long Island, 1985), 33. 2 bonds between those three European cities, making CoBrA one of the most dynamic European art movements to emerge during the middle of the twentieth century.5 CoBrA was dominated by men. Of its approximately thirty-five members, twenty-six or so were men, and their membership within the group, for the most part, has not been challenged by art historians. Among the small number of women members associated with CoBrA, two notable female artists continue to be the subject of contentious debate within CoBrA scholarship to this day: the Danish painter Else Alfelt (1910-1974) and the Dutch sculptor Lotti van der Gaag (1923-1999), known as Lotti (Figs. 1 and 2).6 Alfelt is considered by art historians, and she was also seen by leading CoBrA artists—if at times begrudgingly—as a member of the group.7 CoBrA membership of another female artist, Sonja Ferlov Mancoba (1911-1984), has not been challenged either by members of the group, or by art historians. Ferlov Mancoba’s work is seen as CoBrA dominant in both principles and aesthetics. In addition to Alfelt and Ferlov Mancoba, two other women artists, Anneliese Hager (1904-1997) and Madeleine Kemeny-Szemere (1906-1993), were considered as part of the group by CoBrA co-founder and leading artist, Corneille Guillaume Beverloo (1922-2010), referred to by his first name, Corneille. However, the leading CoBrA artists including Corneille—and, until recently, also art historians—have not regarded Lotti as a member.8 Corneille also did not consider as members two other women artists, Ferdina Jansen (Ferdi, 1927-1969) and Dora Tuynman (1926-1979), but this view is also held by key CoBrA art historians as well. Neither of these two artists are even mentioned in key texts about CoBrA.9 An eighth artist, photographer 5 Flomenhaft, The Roots and Development, 3. 6 Charlotte van der Gaag chose to use her nickname “Lotti” as her artist name. 7 Jean-Clarence Lambert, Cobra, trans.
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