Marianne Werefkin and the Women Artists in Her Circle
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Marianne Werefkin and the Women Artists in Her Circle <UN> Avant-Garde Critical Studies Founding Editors Ferd Drijkoningen† Klaus Beekman Editor Geert Buelens Associate Editors Hubert van den Berg Günter Berghaus Sascha Bru International Advisory Board Henri Béhar – Sophie Berrebi – Peter Bürger – Ralf Grüttemeier – Hilde Heynen – Leigh Landy – Ben Rebel – Jan de Vries – Willem G. Weststeijn VOLUME 33 The titles published in this series are listed at brill.com/agcs <UN> Marianne Werefkin and the Women Artists in Her Circle Edited by Tanja Malycheva Isabel Wünsche LEIDEN | BOSTON <UN> This is an open access title distributed under the terms of the cc-by-nc License, which permits any non-commercial use, distribution, and reproduction in any medium, provided the original author(s) and source are credited. This publication is an outcome of the international conference “Crossing Borders: Marianne Werefkin and the Cosmopolitan Women Artists in her Circle,” held at the Museen Böttcherstraße, Bremen in September 2014. It was generously funded by the Volkswagen Foundation, the Nicolaus Heinrich Schilling Foundation, the Petra und Dieter Frese Foundation, and the Karin und Uwe Hollweg Foundation and supported by Jacobs University, Bremen. The Library of Congress Cataloging-in-Publication Data is available online at http://catalog.loc.gov lc record available at http://lccn.loc.gov/2016042164 Typeface for the Latin, Greek, and Cyrillic scripts: “Brill”. See and download: brill.com/brill-typeface. issn 1387-3008 isbn 978-90-04-32897-6 (hardback) isbn 978-90-04-33314-7 (e-book) Copyright 2017 by the Editors and Authors. This work is published by Koninklijke Brill nv. Koninklijke Brill nv incorporates the imprints Brill, Brill Hes & De Graaf, Brill Nijhoff, Brill Rodopi and Hotei Publishing. Koninklijke Brill nv reserves the right to protect the publication against unauthorized use and to authorize dissemination by means of offprints, legitimate photocopies, microform editions, reprints, translations, and secondary information sources, such as abstracting and indexing services including databases. Requests for commercial re-use, use of parts of the publication, and/or translations must be addressed to Koninklijke Brill nv. This book is printed on acid-free paper and produced in a sustainable manner. <UN> Contents Acknowledgements ix List of Illustrations xi List of Contributors xiv Introduction 1 Tanja Malycheva and Isabel Wünsche 1 Marianne Werefkin: Clemens Weiler’s Legacy 8 Bernd Fäthke 2 Marianne Werefkin—From the Blue Rider to the Great Bear: An Exhibition in Retrospect 20 Petra Lanfermann section 1 The Cultural Worlds of Marianne Werefkin part 1 Germany and Switzerland as Places of Exchange and Inspiration 3 Marianne Werefkin in Prerow, 1911: The Periphery as Focus 35 Kornelia Röder and Antonia Napp 4 Exile, the Avant-Garde, and Dada: Women Artists Active in Switzerland during the First World War 48 Isabel Wünsche part 2 Crossing National, Cultural, and Gender Borders 5 The Cosmopolitan Approach as a Constituent Aspect of Modernist Thought 71 Tanja Malycheva 6 Women Artists of Marianne Werefkin’s Circle: Sisters or Rivals? The Case of Vera Abegg-Verevkine 80 Laima Surgailienė-Laučkaitė <UN> vi contents 7 Performing the Wo/man: The “Interplay” between Marianne Werefkin and Else Lasker-Schüler 92 Shulamith Behr 8 “Between us sleeps our child—art”: Creativity, Identity, and the Maternal in the Works of Marianne von Werefkin and Her Contemporaries 106 Dorothy Price 9 Transcending Gender: Cross-Dressing as a Performative Practice of Women Artists of the Avant-garde 123 Marina Dmitrieva section 2 The Œuvre of the Women Artists in Marianne Werefkin’s Circle and Beyond part 3 The Women Artists in Marianne Werefkin’s Immediate Circle 10 Erma Bossi 141 Carla Pellegrini Rocca 11 Maria Marc’s Letters 154 Kimberly A. Smith 12 Elisabeth Epstein: Moscow–Munich–Paris–Geneva, Waystations of a Painter and Mediator of the French-German Cultural Transfer 165 Hildegard Reinhardt 13 The Artist Elena Luksch-Makowsky: Between St. Petersburg, Munich, Vienna, and Hamburg 175 Simone Ewald part 4 The Women Artists in Marianne Werefkin’s Larger Cultural Circle 14 Natalia Goncharova: Artistic Innovator and Inspiring Muse 193 Olga Furman <UN> contents vii 15 Women as Catalysts for Innovation in Printmaking: Anna Ostroumova-Lebedeva and Elizaveta Kruglikova 207 Galina Mardilovich 16 First Modernist Women Artists in Latvia and Their Paths into the International Art Scene 221 Baiba Vanaga Index 237 <UN> Acknowledgements This book is the result of intense discussions and lively exchanges between colleagues at the conference “Crossing Borders: Marianne Werefkin and the Cosmopolitan Women Artists in Her Circle,” held in Bremen in September 2014 in conjunction with the special exhibition Marianne Werefkin: Vom Blauen Reiter zum Großen Bären (Marianne Werefkin: From the Blue Rider to the Great Bear), which was on view at the Städtische Galerie Bietigheim-Bissingen from April to July 2014 and the Paula Modersohn-Becker Museum, Bremen from July to October 2014. It would not have been possible without the generous support of numerous individuals and institutions. We wish to particularly thank the curators of the exhibition, Isabell Schenk- Weininger, Petra Lanfermann, and Tanja Malycheva, for providing a great in- spiration and substantial basis for our discussions. Special thanks goes to the leadership of the Museen Böttcherstraße, Frank Laukötter and Verena Borg- mann, and Susanne Gerlach, managing director of the Böttcherstraße GmbH, for hosting and supporting our event, and to Jacobs University for its institu- tional support. The conference and publication of the papers would not have been possible without the generous funding of the Volkswagen Foundation, the Nicolaus Heinrich Schilling Foundation, the Petra und Dieter Frese Foundation, and the Karin und Uwe Hollweg Foundation. We are grateful for their generous support and particularly proud to be able to make our research findings accessible to the greater scholarly community and interested public in an English-language open access publication. Special thanks goes to Hildegard Reinhardt for her generous contribution towards this form of publication. We wholeheartedly thank Bernd Fäthke, who has devoted his life to researching and acknowledg- ing the work of Marianne Werefkin, for his intellectual support and for sharing his expertise with us. Research for the book was conducted at various museums, archives, and libraries in Germany, Switzerland, Italy, France, Lithuania, Latvia, Russia, the United Kingdom, and the United States. We are grateful to the curators and staff of these institutions for their expertise and for making accessible their collections. For assistance with photographic material, image files, and copy- right permissions, we wish to thank the staff of the Fondazione Marianne Werefkin, Museo Comunale d’Arte Moderna, Ascona; the Archivio di Stato del Cantone Ticino, Bellinzona; the Stiftung Arp e.V., Berlin/Rolandswerth; the Gabriele Münter and Johannes Eichner Foundation, Munich; the Franz Marc Foundation, Munich; the Trustees of the British Museum; the Latvian <UN> x Acknowledgements National Museum of Art, Riga; the State Russian Museum, St. Petersburg; the State Tretyakov Gallery, Moscow; and the Norton Simon Museum, Pasadena. We are also grateful to the artists, art historians, art dealers, and private collec- tors who gave their support and more, and we wish to express our gratitude to Carla Pellegrini Rocca, Milan; Frederik Janse, Ascona; Franziska Ida Neumann, Berlin; Frank Brabant, Wiesbaden; and many more. Every attempt has been made to obtain permission to reproduce copyrighted material. If proper ac- knowledgment has not been made, copyright holders are invited to inform the editors of the oversight. We are grateful to the translators Kevin Pfeiffer and Michael Wetzel for their translations of the German-language texts and their proofreading of the con- tributions of colleagues from Germany, Italy, Lithuania, Latvia, and Russia. We furthermore thank Veronica Bremer for her careful reading and copy-editing of the manuscript. Last but not least, we wish to thank Masja Horn for her inter- est in the subject matter and shepherding of its publication by Brill/Rodopi, as well as for her helpful advice, responsive feedback, and general expertise. Tanja Malycheva & Isabel Wünsche Berlin, May 2016 <UN> List of Illustrations 1.1 Marianne Werefkin, Shingle Factory, 1910, tempera on cardboard 10 1.2 Alexei Jawlensky, Still Life with Green Bottle, 1909, oil on cardboard 15 1.3 Marianne Werefkin, Man in Fur, c. 1890, oil on canvas 16 1.4 Marianne Werefkin, Spa Building, 1911, tempera on cardboard 16 1.5 Marianne Werefkin, Next to the Fireplace, 1909–10, tempera on cardboard 18 2.1 Exhibition view Städtische Galerie Bietigheim-Bissingen, room on spare time activities as a mass phenomenon, from left to right: Marianne Werefkin, Sunday Afternoon; Stock Market, 1907; Sunday in Spring, 1907; Ice Skaters, c. 1911 24 2.2 Exhibition view Städtische Galerie Bietigheim-Bissingen, room on working world, from right to left: Marianne Werefkin, Stone Quarry, 1907; Open-Air Foundry, c. 1910; The Travail, 1917 27 3.1 Marianne Werefkin, Sketchbook 40 3.2 Marianne Werefkin, Sketchbook 42 3.3 Marianne Werefkin, Steep Coast of Ahrenshoop, 1911, tempera on cardboard 44 3.4 Letter from Marianne Werefkin to Franz and Maria Marc, Prerow, 1911 46 4.1 Clotilde von Derp, c. 1914–15 50 4.2 Clotilde von Derp and Alexander Sacharoff, wedding photograph with Mari- anne Werefkin as witness, 1919 51 4.3 Claire Goll, photograph 52 4.4 Emmy Hennings with Dada puppets, spring 1917, photograph 55 4.5 Else Lasker-Schüler, photograph 56 4.6 Sophie Taeuber, Aubette, Strasbourg, 1926–27, photograph 58 4.7 Sophie Taeuber and Hans Arp with marionettes, photograph 59 4.8 Hilla Rebay, photograph 61 4.9 Emmy Scheyer and Alexei Jawlensky, c. 1919, photograph 63 4.10 Boat Trip on Lago Maggiore, Ascona, 1919, photograph 65 5.1 Ilya Repin, Barge Haulers on the Volga, 1873, oil on canvas 77 5.2 Marianne Werefkin, Sunrise, undated, tempera on paper on cardboard 77 6.1 Vera Abegg-Verevkine, photograph, c.