DOCSLIB.ORG

Transcending Gender: Cross-Dressing As a Performative Practice of Women Artists of the Avant-Garde

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Transcending Gender: Cross-Dressing As a Performative Practice of Women Artists of the Avant-Garde chapter 9 Transcending Gender: Cross-Dressing as a Performative Practice of Women Artists of the Avant-garde Marina Dmitrieva Abstract Although it is common in many cultures, cross-dressing is often considered an ex- ceptional phenomenon because it involves not only dressing as a person of the other gender but also the adoption of a non-traditional role in society. This essay examines cross-dressing as a performative practice of women artists of the avant-garde. The emerging Lebensreform movement and women’s liberation led to changes in the role of women in society and to a new awareness of the body. Cross-dressing is a way to overcome gender stereotypes and promote a creative individuality that would other- wise not be acceptable in a woman; this can be seen in the self-representations of Natalia Goncharova, Zinaida Gippius, Elisaveta Kruglikova, Elsa Lasker-Schüler, and Marianne Werefkin. “Is woman creative?” is the question that Hans Hildebrandt asks in his 1928 book Die Frau als Künstlerin (The Woman as Artist), in which he analyzes the art produced by women from “primitive peoples” to the present. Here, he contem- plates “oppositions between masculine and feminine genius,” the “strengths and weaknesses of feminine work,” and “relationships to the creative man.”1 However, his answer to the initial question turns out to be skeptical: Although the author is impressed by the emancipated woman—particularly by her courage in venturing into a masculine domain—he sees her primarily as “help- er and comrade” to man.2 Even in the substantial chapter on contemporary female artists from Europe and America, Hildebrand emphasizes “specifically feminine” fields like children’s books, toys, and textiles in the works of artists such as Sonia Delaunay, Alexandra Exter, and Sophie Taeuber as well as the 1 “Gegensätze männlicher und weiblicher Genialität […] Stärke und Schwächen weiblichen Schaffens […] Beziehungen zum schöpferischen Manne,” Hans Hildebrandt, Die Frau als Künstlerin (The woman as artist) (Berlin: Rudolf Mosse Verlag, 1928), 5. 2 “Gehilfin und Kameradin,” ibid., 157. © marina dmitrieva, ���7 | doi �0.��63/9789004333�47_0�� This is an open access chapter distributed under the terms of the CC-BY-NC License. Marina Dmitrieva - 9789004333147 Downloaded from Brill.com10/01/2021 11:38:37PM via free access <UN> ��4 Dmitrieva ceramics of Friedl Dicker.3 Works by the female Czech artist Toyen (Marie Čermínová), who is erroneously referred to as a Hungarian, are presented as an illustration of the “feminine predilection for the irrational.”4 In spite of the biased nature of his initial thesis, the author demonstrates a substantial knowledge of the international art scene and mentions several Russian women artists, including Hanna Orlova and Natalia Goncharova. Marianne Werefkin is also discussed in the book and her painting Die letzte Stunde (The Final Hour) is reproduced.5 Although Hildebrandt characterizes her images as “full of visionary power,” he sees them as only half as radical as those “created in the neighboring studio of Alexei Jawlensky.”6 On the whole, “the artistic relationship between two people bound by a shared life together” seems “surprisingly loose” to him.7 In his eyes, this also applies to the compan- ionship between Gabriele Münter and Wassily Kandinsky. The book, which appeared in the roaring twenties in the Weimar Republic, illustrates how entrenched the attribution of gender roles was—even in the bohemian circles of Berlin. This helps us to understand the social, organiza- tional, and cultural obstacles women had to overcome in order to gain recog- nition in this male-dominated world. They utilized various strategies to do so, and one of these was the staging of alternative gender roles—cross-dressing. Staging Gender In a photo from around 1913, Natalia Goncharova poses in men’s clothing and cap; she holds a long set-painter’s brush like a spear and is pointing it at her partner, Mikhail Larionov, who is dressed in a soldier’s uniform. She appears in 3 “frauenspezifische,” ibid., 173–177. 4 “weiblichen Hanges zum Irrationalen,” ibid., 143. 5 Ibid., 125, ill. 199. The work’s present location is unknown. According to Maaike van Rijn, the painting was shown at the 100th exhibition of the Sturm gallery in 1921. There were also Sturm postcards featuring this painting. See Maaike Moniek van Rijn, “Bildende Künstlerin- nen im Berliner ,Sturm‘ der 1910er Jahre” (Women artists at the Berlin Sturm of the 1910s), PhD thesis, Tübingen University 2013 https://publikationen.uni-tuebingen.de/xmlui/bitstream/ handle/10900/47088/pdf/Bildende_Kuenstlerinnen_im_Berliner_Sturm_der_1910er_Jahre .pdf?sequence=1. 6 “voller visionärer Kraft […] im Nachbaratelier Jawlenskis entstanden waren,” Hildebrandt, Die Frau als Künstlerin, 123. 7 „die künstlerische Beziehung zweier in Lebensgemeinschaft Verbundener überraschend lose,“ ibid., 123. Marina Dmitrieva - 9789004333147 Downloaded from Brill.com10/01/2021 11:38:37PM via free access <UN> Transcending Gender ��5 Figure 9.� Léon Bakst, Zinaida Gippius, 1906, pencil, chalk, and sanguine on paper, 54 × 44 cm state tretyakov gallery, moscow an active and even aggressive role, while Larionov draws back from the attack with a mischievous expression. In their case, as well as that of the Czech art- ist couple Jindřich Štyrský and Toyen, self-staging was programmatic. Thus, Toyen—who was the only woman in the circle of the Devĕtsíl artists’ group— repeatedly staged her sexual as well as artistic ambiguity. She often appeared in a masculine costume and played with the open possibilities offered by her gender-neutral pseudonym. She also sought to cancel out defined gender boundaries in her erotic and surreal paintings. In Léon Bakst’s 1906 watercolor portrait (fig. 9.1), the female poet Zinaida Gippius is depicted in an eighteenth-century page’s costume, with velvet breeches and a jabot. In her own works, Gippius often makes use of a mas- culine lyrical subject and a male authorial mask. She, her husband (the poet Dmitry Merezhkovsky), and the art critic Dmitry Filosofov maintained an open relationship. Numerous visitors to her salons of the early 1900s in St. Petersburg and later in Paris described her as the dominant member of their domestic partnership.8 At any rate, her male costume in Bakst’s picture is in keeping 8 Olga Matich, “Dialectics of Cultural Return: Zinaida Gippius’ Personal Myth,” in Cultural My- thologies of Russian Modernism: From the Golden Age to the Silver Age, ed. by Boris Gasparov, Robert P. Hughes, Irina Paperno (Berkeley: University of California Press, 1992), 52–72; Kirsti Ekonen, Tvorets, subyekt, zhenshina. Strategii zhenskogo pisma v russkom simvolizme (Creator, Subject, Woman. Strategies in Women’s Writings in Russian Symbolism) (Moscow: Novoye literaturnoye obozreniye, 2011). Marina Dmitrieva - 9789004333147 Downloaded from Brill.com10/01/2021 11:38:37PM via free access <UN> ��6 Dmitrieva Figure 9.� Elizaveta Kruglikova, Self- Figure 9.3 Mikhail Nesterov, Portrait of Portrait. Silhouette, 1934, Elizaveta Kruglikova, 1938, oil on application canvas, 125 × 80 cm state russian museum, tretiakov gallery, st. petersburg moscow with a performance in the sense of the passéist aesthetic of the artists’ group Mir iskusstva (World of Art)—unlike the male clothing of the Russian female poet Poliksena Solovyova, who lived in a lesbian relationship and was the sister of the philosopher Vladimir Solovyov. The 1934 self-portrait of the female graphic artist Elizaveta Kruglikova (fig. 9.2) also represents a staging: She shows herself in the form of a silhouette image, wearing a male costume with a bow tie and white vest—in the style of a dandy. This bore a readily understood subversive message in the prude, ideologically, and stylistically homogeneous Stalinist culture of the 1930s. The two portraits of the artist painted by Mikhail Nesterov (1938, fig. 9.3, and 1939; Russian Museum, St. Petersburg) emphasize both the untimely foreignness of the unfeminine appearance of this “Russian Parisian” (as she was referred to in artistic circles) and her anachronistic style of dress corresponding to a feminist activist from the turn of the century. In Bakst’s portrait of Gippius, the theatrical costume, the unstable pose, the androgyny, and the somewhat lascivious gaze of the sitter not only evoke Marina Dmitrieva - 9789004333147 Downloaded from Brill.com10/01/2021 11:38:37PM via free access <UN> Transcending Gender ��7 the erotic frivolity of the decadent epoch—they are also the visual expression of an important aspect of Symbolist discourse, the questioning of traditional gender roles. In this regard, women were much more “revolutionary” than their male colleagues because the framework defining their freedom of ac- tion was much more restricted. This applied not only to the conditions under which they lived but also to the perception of their creative potential. As Kirsti Ekonen has shown, female artists from the turn of the century experienced a conflict between the two primary poles of Symbolism—that of the “eter- nal feminine” and that of the “demonstrative masculinity of an ideal creative subject.”9 Gippius took this dilemma as the theme of her 1908 essay “Zverebog,”10 her answer to Otto Weininger’s 1903 book Geschlecht und Charakter (Sex and Char- acter, 1906), in which he proposes the theory of humanity’s genuine androgyny. Gippius criticizes Weininger’s inconsistency in applying his theory, which as- signs a passive object role to woman and the role of the active subject to
Load more

Recommended publications
  • Elisabeth Epstein: Moscow–Munich–Paris–Geneva, Waystations of a Painter and Mediator of the French-German Cultural Transfer
    chapter 12 Elisabeth Epstein: Moscow–Munich–Paris–Geneva, Waystations of a Painter and Mediator of the French-German Cultural Transfer Hildegard Reinhardt Abstract The artist Elisabeth Epstein is usually mentioned as a participant in the first Blaue Reiter exhibition in 1911 and the Erster Deutscher Herbstsalon in 1913. Living in Munich after 1898, Epstein studied with Anton Ažbe, Wassily Kandinsky, and Alexei Jawlensky and participated in Werefkin’s salon. She had already begun exhibiting her work in Paris in 1906 and, after her move there in 1908, she became the main facilitator of the artistic exchange between the Blue Rider artists and Sonia and Robert Delaunay. In the 1920s and 1930s she was active both in Geneva and Paris. This essay discusses the life and work of this Russian-Swiss painter who has remained a peripheral figure despite her crucial role as a mediator of the French-German cultural transfer. Moscow and Munich (1895–1908) The special attraction that Munich and Paris exerted at the beginning of the twentieth century on female Russian painters such as Alexandra Exter, Sonia Delaunay, Natalia Goncharova, and Olga Meerson likewise characterizes the biography of the artist Elisabeth Epstein née Hefter, the daughter of a doc- tor, born in Zhytomir/Ukraine on February 27, 1879. After the family’s move to Moscow, she began her studies, which continued from 1895 to 1897, with the then highly esteemed impressionist figure painter Leonid Pasternak.1 Hefter’s marriage, in April 1898, to the Russian doctor Miezyslaw (Max) Epstein, who had a practice in Munich, and the birth of her only child, Alex- ander, in March 1899, are the most significant personal events of her ten-year period in Bavaria’s capital.
    [Show full text]
  • Mehr Mode Rn E Fü R D As Le N Ba Ch Ha Us Die
    IHR LENBACHHAUS.DE KUNSTMUSEUM IN MÜNCHEN MEHR MEHR FÜR DAS MODERNE LENBACHHAUS LENBACHHAUS DIE NEUERWERBUNGEN IN DER SAMMLUNG BLAUER REITER 13 OKT 2020 BIS 7 FEB 2021 Die Neuerwerbungen in der Sammlung Blauer Reiter 13. Oktober 2020 bis 7. Februar 2021 MEHR MODERNE FÜR DAS LENBACHHAUS ie weltweit größte Sammlung zur Kunst des Blauen Reiter, die das Lenbachhaus sein Eigen nennen darf, verdankt das Museum in erster Linie der großzügigen Stiftung von Gabriele Münter. 1957 machte die einzigartige Schenkung anlässlich des 80. Geburtstags der D Künstlerin die Städtische Galerie zu einem Museum von Weltrang. Das herausragende Geschenk umfasste zahlreiche Werke von Wassily Kandinsky bis 1914, von Münter selbst sowie Arbeiten von Künstlerkolleg*innen aus dem erweiterten Kreis des Blauen Reiter. Es folgten bedeutende Ankäufe und Schen- kungen wie 1965 die ebenfalls außerordentlich großzügige Stiftung von Elly und Bernhard Koehler jun., dem Sohn des wichtigen Mäzens und Sammlers, mit Werken von Franz Marc und August Macke. Damit wurde das Lenbachhaus zum zentralen Ort der Erfor- schung und Vermittlung der Kunst des Blauen Reiter und nimmt diesen Auftrag seit über sechs Jahrzehnten insbesondere mit seiner August Macke Ausstellungstätigkeit wahr. Treibende Kraft Reiter ist keinesfalls abgeschlossen, ganz im KINDER AM BRUNNEN II, hinter dieser Entwicklung war Hans Konrad Gegenteil: Je weniger Leerstellen verbleiben, CHILDREN AT THE FOUNTAIN II Roethel, Direktor des Lenbachhauses von desto schwieriger gestaltet sich die Erwer- 1956 bis 1971. Nach seiner Amtszeit haben bungstätigkeit. In den vergangenen Jahren hat 1910 sich auch Armin Zweite und Helmut Friedel sich das Lenbachhaus bemüht, die Sammlung Öl auf Leinwand / oil on canvas 80,5 x 60 cm erfolgreich für die Erweiterung der Sammlung um diese besonderen, selten aufzufindenden FVL 43 engagiert.
    [Show full text]
  • Exhibit Order Form
    40% Exhibit Discount Valid Until April 13, 2021 University of Chicago Press Books are for display only. Order on-site and receive FREE SHIPPING. EX56775 / EX56776 Ship To: Name Address Shipping address on your business card? City, State, Zip Code STAPLE IT HERE Country Email or Telephone (required) Return this form to our on-site representative. OR Mail/fax orders with payment to: Buy online: # of Books: _______ Chicago Distribution Center Visit us at www.press.uchicago.edu. Order Department To order books from this meeting online, 11030 S. Langley Ave go to www.press.uchicago.edu/directmail Subtotal Chicago, IL 60628 and use keycode EX56776 to apply the USA 40% exhibit Fax: 773.702.9756 *Sales Tax Customer Service: 1.800.621.2736 **Shipping and Ebook discount: Most of the books published by the University of Chicago Press are also Handling available in e-book form. Chicago e-books can be bought and downloaded from our website at press.uchicago.edu. To get a 20% discount on e-books published by the University of Chicago Press, use promotional code UCPXEB during checkout. (UCPXEB TOTAL: only applies to full-priced e-books (All prices subject to change) For more information about our journals and to order online, visit *Shipments to: www.journals.uchicago.edu. Illinois add 10.25% Indiana add 7% Massachusets add 6.25% California add applicable local sales tax Washington add applicable local sales tax College Art Association New York add applicable local sales tax Canada add 5% GST (UC Press remits GST to Revenue Canada. Your books will / February 10 - 13, 2021 be shipped from inside Canada and you will not be assessed Canada Post's border handling fee.) Payment Method: Check Credit Card ** If shipping: $6.50 first book Visa MasterCard American Express Discover within U.S.A.
    [Show full text]
  • Kees Van Dongen Max Ernst Alexej Von Jawlensky Otto Mueller Emil Nolde Max Pechstein Oskar Schlemmer
    MASTERPIECES VIII KEES VAN DONGEN MAX ERNST ALEXEJ VON JAWLENSKY OTTO MUELLER EMIL NOLDE MAX PECHSTEIN OSKAR SCHLEMMER GALERIE THOMAS MASTERPIECES VIII GALERIE THOMAS CONTENTS ALEXEJ VON JAWLENSKY MAX ERNST STILL LIFE WITH JUG AND APPLES 1908 6 FEMMES TRAVERSANT UNE RIVIÈRE EN CRIANT 1927 52 PORTRAIT C. 191 616 ALEXEJ VON JAWLENSKY MAX PECHSTEIN HOUSE WITH PALM TREE 191 4 60 INTERIEUR 1922 22 OSKAR SCHLEMMER EMIL NOLDE ARCHITECTURAL SCULPTURE R 191 9 68 YOUNG FAMILY 1949 30 FIGURE ON GREY GROUND 1928 69 KEES VAN DONGEN ALEXEJ VON JAWLENSKY PORTRAIT DE FEMME BLONDE AU CHAPEAU C. 191 2 38 WOMAN IN RED BLOUSE 191 1 80 EMIL NOLDE OTTO MUELLER LANDSCAPE (PETERSEN II) 1924 44 PAIR OF RUSSIAN GIRLS 191 9 88 4 5 STILL LIFE WITH JUG AND APPLES 1908 ALEXEJ VON JAWLENSKY oil on cardboard Provenance 1908 Studio of the artist 23 x 26 3/4 in. Adolf Erbslöh signed lower right, Galerie Otto Stangl, Munich signed in Cyrillic and Private collection dated lower left Galerie Thomas, Munich Private collection Jawlensky 21 9 Exhibited Recorded in the artist’s Moderne Galerie, Munich 191 0. Neue Künstlervereinigung, II. Ausstellung. No. 45. photo archive with the title Galerie Paul Cassirer, Berlin 1911 . XIII. Jahrgang, VI. Ausstellung. ‘Nature morte’ Galerie Otto Stangl, Munich 1948. Alexej Jawlensky. Image (leaflet). Musée National d’Art Moderne, Paris; Haus der Kunst Munich, 1966. Le Fauvisme français et les débuts de l’Expressionisme allemand. No. 164, ill. p.233. Ganserhaus, Wasserburg 1979. Alexej von Jawlensky – Vom Abbild zum Urbild. No. 18, ill. p.55.
    [Show full text]
  • Alexej Jawlensky's Pain
    “. I CAME TO UNDERSTAND HOW TO TRANSLATE NATURE INTO COLOUR ACCORDING TO THE FIRE IN MY SOUL”: ALEXEJ JAWLENSKY’S PAINTING TECHNIQUE IN HIS MUNICH OEUVRE Ulrike Fischer, Heike Stege, Daniel Oggenfuss, Cornelia Tilenschi, Susanne Willisch and Iris Winkelmeyer ABSTRACT ingly, technological and analytical assessment is commissioned The Russian painter Alexej Jawlensky, who worked in Munich between to complement stylistic judgement with an objective critique 1896 and 1914, was an important representative of Expressionism and of materials, painting technique and the condition of question- abstract art in Germany. He was involved with the artistic group Der Blaue Reiter, whose members shared not only ideas about art but also an able items. The manifold particularities a painting may reveal interest in questions of painting technique and painting materials. This in respect to painting support, underdrawing, pigments, bind- paper aims to illuminate the working process of Jawlensky through ing media, paint application and consistency, later changes research into the characteristics of his painting technique. It examines and restorations, ageing phenomena, etc., present a wealth of the paint supports and painting materials in specific works of art from information and often a new understanding of the object. This Jawlensky’s Munich period. This technical examination, together with the evaluation of written sources reveals the manifold artistic and technologi- technology-based perspective may even significantly influence cal influences that contributed to the development and peculiarities of the art historical judgement, such as in the case of altered signa- Jawlensky’s art. Comparisons with selected works by Wassily Kandinsky ture or changes in appearance as a result of previous restoration and Gabriele Münter show the strong influence Jawlensky’s painting tech- treatments.
    [Show full text]
  • The Production of Consumer Society
    Ernst Mohr The Production of Consumer Society Edition transcript | Volume 9 Dedicated to Hans-Christoph Binswanger (1929-2018) Ernst Mohr is Professor emeritus of Economics at the University of St. Gallen, Switzerland. His research interests concern the interrelation between culture and consumption, addressing, among others, stylistic innovation, aesthetics and the economy, and taste as a driver of the consumer industry. Ernst Mohr The Production of Consumer Society Cultural-Economic Principles of Distinction Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche National- bibliografie; detailed bibliographic data are available in the Internet at http:// dnb.d-nb.de This work is licensed under the Creative Commons Attribution-NonCommercial-NoDeri- vatives 4.0 (BY-NC-ND) which means that the text may be used for non-commercial pur- poses, provided credit is given to the author. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/ To create an adaptation, translation, or derivative of the original work and for commercial use, further permission is required and can be obtained by contacting rights@transcript- publishing.com Creative Commons license terms for re-use do not apply to any content (such as graphs, figures, photos, excerpts, etc.) not original to the Open Access publication and further permission may be required from the rights holder. The obligation to research and clear permission lies solely with the party re-using the material. © 2021 transcript Verlag, Bielefeld Cover layout: Kordula Röckenhaus, Bielefeld Copy-editing: Ben Stowers Typeset: Jan Gerbach, Bielefeld Printed by Majuskel Medienproduktion GmbH, Wetzlar Print-ISBN 978-3-8376-5703-6 PDF-ISBN 978-3-8394-5703-0 https://doi.org/10.14361/9783839457030 Printed on permanent acid-free text paper.
    [Show full text]
  • The Self Portraiture of Helene Schjerfbeck, Romaine Brooks, and Marianne Werefkin
    The Compass Volume 1 Issue 4 Volume 1, Issue 4, The Compass Article 3 January 2017 Redefining the Gaze: The Self Portraiture of Helene Schjerfbeck, Romaine Brooks, and Marianne Werefkin Megan D'Avella Follow this and additional works at: https://scholarworks.arcadia.edu/thecompass Recommended Citation Megan D'Avella (2017) "Redefining the Gaze: The Self Portraiture of Helene Schjerfbeck, Romaine Brooks, and Marianne Werefkin," The Compass: Vol. 1 : Iss. 4 , Article 3. Available at: https://scholarworks.arcadia.edu/thecompass/vol1/iss4/3 This Article is brought to you for free and open access by ScholarWorks@Arcadia. It has been accepted for inclusion in The Compass by an authorized editor of ScholarWorks@Arcadia. For more information, please contact [email protected]. Redefining the Gaze: The Self-Portraiture of Helene Schjerfbeck, Romaine Brooks, and Marianne Werefkin By Megan D’Avella, Arcadia University Introduction manner, males boldly presented themselves through self-imagery.1 This can make early Throughout the history of art, self-portrai- female self-portraiture difficult to read autobi- ture has been explored by artists as means ographically, as a subdued painting does not to emphasize their artistic capabilities, claim necessarily translate into a subdued woman. their importance in modern art, and solidify Keeping in mind the traditional stan- their existence. The work accomplished by dard of female portraiture, the un-idealized female artists, however, must be considered self-representations that Helen Schjerfbeck, separately from the overall genre of portrai- Romaine Brooks, and Marianne Werefkin ture. Women in the early twentieth century painted were no small statement at the turn of needed to approach the canvas with careful the century.
    [Show full text]
  • The Blue Rider
    THE BLUE RIDER 55311_5312_Blauer_Reiter_s001-372.indd311_5312_Blauer_Reiter_s001-372.indd 1 222.04.132.04.13 111:091:09 2 55311_5312_Blauer_Reiter_s001-372.indd311_5312_Blauer_Reiter_s001-372.indd 2 222.04.132.04.13 111:091:09 HELMUT FRIEDEL ANNEGRET HOBERG THE BLUE RIDER IN THE LENBACHHAUS, MUNICH PRESTEL Munich London New York 55311_5312_Blauer_Reiter_s001-372.indd311_5312_Blauer_Reiter_s001-372.indd 3 222.04.132.04.13 111:091:09 55311_5312_Blauer_Reiter_s001-372.indd311_5312_Blauer_Reiter_s001-372.indd 4 222.04.132.04.13 111:091:09 CONTENTS Preface 7 Helmut Friedel 10 How the Blue Rider Came to the Lenbachhaus Annegret Hoberg 21 The Blue Rider – History and Ideas Plates 75 with commentaries by Annegret Hoberg WASSILY KANDINSKY (1–39) 76 FRANZ MARC (40 – 58) 156 GABRIELE MÜNTER (59–74) 196 AUGUST MACKE (75 – 88) 230 ROBERT DELAUNAY (89 – 90) 260 HEINRICH CAMPENDONK (91–92) 266 ALEXEI JAWLENSKY (93 –106) 272 MARIANNE VON WEREFKIN (107–109) 302 ALBERT BLOCH (110) 310 VLADIMIR BURLIUK (111) 314 ADRIAAN KORTEWEG (112 –113) 318 ALFRED KUBIN (114 –118) 324 PAUL KLEE (119 –132) 336 Bibliography 368 55311_5312_Blauer_Reiter_s001-372.indd311_5312_Blauer_Reiter_s001-372.indd 5 222.04.132.04.13 111:091:09 55311_5312_Blauer_Reiter_s001-372.indd311_5312_Blauer_Reiter_s001-372.indd 6 222.04.132.04.13 111:091:09 PREFACE 7 The Blue Rider (Der Blaue Reiter), the artists’ group formed by such important fi gures as Wassily Kandinsky, Franz Marc, Gabriele Münter, August Macke, Alexei Jawlensky, and Paul Klee, had a momentous and far-reaching impact on the art of the twentieth century not only in the art city Munich, but internationally as well. Their very particular kind of intensely colorful, expressive paint- ing, using a dense formal idiom that was moving toward abstraction, was based on a unique spiritual approach that opened up completely new possibilities for expression, ranging in style from a height- ened realism to abstraction.
    [Show full text]
  • Press Kit Jawlensky. the Landscape of the Face
    JAWLENSKY. FACE AS LANDSCAPE 9 February to 9 May 2021 Fundación MAPFRE Salas Recoletos. Madrid JAWLENSKY. EL PAISAJE DEL ROSTRO JAWLENSKY. FACE AS LANDSCAPE Exhibition dates : From February 11h until May 9th 2021 Venue : Fundación MAPFRE Sala Recoletos (Paseo de Recoletos, 23. Madrid) Curator: Itzhak Goldberg Exhibition organised by Fundación MAPFRE, Madrid; the Musée Cantini, Marseille; and La Piscine, Musée d’Art et d’Industrie André Diligent, Roubaix. High-resolution images : https://noticias.fundacionmapfre.org/wpcontent/uploads/2021/01/JAWLENSKY.zip www.fundacionmapfre.org @mapfrefcultura #ExpoJawlensky @mapfrefcultura #ExpoJawlensky facebook.com/fundacionmapfrecultura Fundación MAPFRE Communication Alejandra Fernández Martinez 91581.84.64 [email protected] Front cover image: Alexej von Jawlensky Princess Turandot, 1912 Oil on canvas Zentrum Paul Klee, Bern. Private loan INV. 91389 Photo: Zentrum Paul Klee, Berna JAWLENSKY. EL PAISAJE DEL ROSTRO ALEXÉI VON JAWLENSKY (1864-1941) A pioneer in the development of a type of autonomous painting that moved towards abstraction in the early years of the 20th century, Jawlensky created an extensive oeuvre based on series and almost obsessive reinterpretations that relate to the language of music, an art form which inspired numerous visual artists of this period. Jawlensky participated in some of the most important artistic events of the 20th century: together with artist friends such as Wassily Kandinsky, Gabriele Münter and Marianne von Werefkin, he was one of the leading figures in the foundation of German Expressionism as well as a co-founder of the Neue Künstlervereinigung [New Association of Artists] in Munich in 1909. Jawlensky also moved in the orbit of the Blaue Reiter [Blue Rider] group, although he never fully embraced abstraction.
    [Show full text]
  • Women and Arts : 75 Quotes
    WOMEN AND ARTS : 75 QUOTES Compiled by Antoni Gelonch-Viladegut For the Gelonch Viladegut Collection website Paris, March 2011 1 SOMMARY A GLOBAL INTRODUCTION 3 A SHORT HISTORY OF WOMEN’S ARTISTS 5 1. The Ancient and Classic periods 5 2. The Medieval Era 6 3. The Renaissance era 7 4. The Baroque era 9 5. The 18th Century 10 6. The 19th Century 12 7. The 20th Century 14 8. Contemporary artists 17 A GENERAL BIBLIOGRAPHY 19 75 QUOTES: WOMEN AND THE ART 21 ( chronological order) THE QUOTES ORDERED BY TOPICS 30 Art’s Definition 31 The Artist and the artist’s work 34 The work of art and the creation process 35 Function and art’s understanding 37 Art and life 39 Adjectives’ art 41 2 A GLOBAL INTRODUCTION In the professional world we often speak about the "glass ceiling" to indicate a situation of not-representation or under-representation of women regarding the general standards presence in posts or roles of responsibility in the profession. This situation is even more marked in the world of the art generally and in the world of the artists in particular. In the art history women’s are not almost present and in the world of the art’s historians no more. With this panorama, the historian of the art Linda Nochlin, in 1971 published an article, in the magazine “Artnews”, releasing the question: "Why are not there great women artists?" Nochlin throws rejects first of all the presupposition of an absence or a quasi-absence of the women in the art history because of a defect of " artistic genius ", but is not either partisan of the feminist position of an invisibility of the women in the works of art history provoked by a sexist way of the discipline.
    [Show full text]
  • Selected Bibliography
    Selected bibliography 1. Publications by Harald Szeemann (ed.), Fred Stauffer: Werke von i%2 bis 1962, cat­ 1.1. Catalogues alogue, Bern: Kunsthalle Bern, 1962. 1.2. Monographs (ed.), Harry Kramer: Automobile Skulpturen, 1.3. Articles Marionetten, Filme, catalogue, Biel: Stadtische Gale­ rie Biel, 1962. 2. Publications with and about Harald Szeemann (ed.), Lenz Klotz, Friedrich Kuhn, Bruno Miiller, 2.1. Monographs Matias Spescha, catalogue, Bern: Kunsthalle Bern, 2.2. Interviews, Articles, Portraits 1962. — (ed.), Puppen - Marionetten - Schattenspiel (Asiatica und Experimente), catalogue, Bern: Kunst­ halle Bern, 1962. I. Publications by Harald Szeemann 1963 — (ed.), Alan Davie, catalogue, Bern: Kunsthalle I.I. Catalogues by HSz (Only catalogues with contri­ Bern, 1963. butions by Harald Szeemann are listed here. For (ed.), Auguste Herbin (1882-1960), catalogue, other catalogues in the context of the exhibtions Bern: Kunsthalle Bern, 1963. curated by Harald Szeemann see: "Catalogue of — (ed.), Bildnerei der Geisteskranken - Art Brut - all Exhibitions," p. 27 ff.) Insania pingens, catalogue, Bern: Kunsthalle Bern 1963. 1957 — (ed.), Etienne-Martin, catalogue, Bern: Kunst­ Harald Szeemann (ed.), Hugo Ball, leaflet, Bern, 1957. halle Bern, 1963. 1961 — ied.), Piotr Kowalski, catalogue, Bern: Kunsthalle {e&.),BurU Giirtler, Iselt Luginbiihl, Meister, Spe- Bern, 1963. scha, Schaffner, catalogue, Biel: Stadtische Galerie — (ed.), Victor Pasmore / David Scott, catalogue, Biel, 1961. Bern: Kunsthalle Bern, 1963. ied,), Hans Aeschbacher, catalogue, Bern: Kunst- 1964 halle Bern, 1961. — (ed.), Anselmo Boix-Vives, catalogue, Bern: Kunst­ — (ed.), OttoTschumi, catalogue, Bern: Kunsthalle halle Bern 1964. Bern, 1961. — (ed.), Ex Voto, catalogue, Bern: Kunsthalle Bern, — (ed.), Prdhistorische Felsbilder der Sahara: Expe­ 1964. dition Henri Lhote im Gebiet Tassili-n-Ajjen cata­ — {ed.), Ferdinand Hodler: Pay sage de 1904 a 1918, logue, Bern: Kunsthalle Bern, 1961.
    [Show full text]
  • Featured Releases Fall Highlights 82 Specialty
    Photograph by Landon Nordeman, from Landon Nordeman: Out of Fashion, published by Damiani. See page 52. FEATURED RELEASES 2 Journals 78 Limited Editions 80 CATALOGUE EDITOR Thomas Evans FALL HIGHLIGHTS 82 ART DIRECTOR Art 84 Stacy Wakefield Writings & Group Exhibitions 114 IMAGE PRODUCTION Photography 120 Kyra Sutton Architecture 140 COPY WRITING Janine DeFeo, Thomas Evans, Annabelle Maroney, Design 150 Kyra Sutton PRINTING SPECIALTY BOOKS 152 Sonic Media Solutions, Inc. Art 154 FRONT COVER IMAGE Group Exhibitions 168 Hilma af Klint, “Altarpiece, No.1, Group X,” 1915. From Hilma af Klint: Photography 171 Painting the Unseen, published by Koenig Books. See page 42. BACK COVER IMAGE Karma Backlist 176 Samuel Friede, “Coney Island Dome,” 1906. From Never Built New York, Reel Art Press Backlist 177 published by Metropolis Books. See page 5. Also from The Coney Island Backlist Highlights 178 Amateur Psychoanalytic Society and Its Circle, published by Christine Burgin. See page 71. Index 183 Robert Rauschenberg ​Edited​with​text​by​Leah​Dickerman,​Achim​Borchardt-Hume.​Text​by​ Yve-Alain​Bois,​Andrianna​Campbell,​Hal​Foster,​Mark​Godfrey,​Hiroko​ Ikegami,​Branden​Joseph,​Ed​Kr ˇcma,​Michelle​Kuo,​Pamela​Lee,​Emily​ Liebert,​Richard​Meyer,​Helen​Molesworth,​Kate​Nesin,​Sarah​Roberts,​ “Painting relates to both Catherine​Wood.​ The early 1950s, when Robert Rauschenberg launched his career, was art and life. Neither can be the heyday of the heroic gestural painting of Abstract Expressionism. Rauschenberg challenged this tradition, inventing new intermedia made. (I try to act in the forms of art making that shaped the decades to come. Published in conjunction with the inaugural 21st-century retrospective of this gap between the two.)” defining figure, this book offers fresh perspectives on Rauschenberg’s —Robert Rauschenberg widely celebrated Combines (1954–64) and silkscreen paintings (1962–64).
    [Show full text]