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Note to Users NOTE TO USERS Page(s) not included in the original manuscript are unavailable from the author or university. The manuscript was microfilmed as received. This reproduction is the best copy available. UMI Social Discourse in the Media Interpretation of Christiane Pflugfs Do11 Paintings Michelle H. Veitch The Department of Art History Presented in Partial Fulfilment of the Requirements for the Degree of Master of Arts at Concordia University Montreal, Quebec, Canada September 19 9 8 Q Michelle H. Veitch, 1998 National Library Bibliothèque nationale of Canada du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Wellington Street 395, rue Wellington Ottawa ON KIA ON4 Ottawa ON KIA ON4 Canach Canada Your fik, Votre teference Our I% Notre rréfdrence The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sell reproduire, prêter, distribuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/nlm, de reproduction sur papier ou su.format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fiom it Ni la thèse ni des extraits substantiels may be printed or othedse de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. NOTE TO USERS Page(s) not included in the original manuscript are unavailable from the author or university. The manuscript was microfilmed as received. This reproduction is the best copy available. UMI Abstxact Social Discouxse in the Media Interpretation of Christiane Pflugls Do11 Paintings Michelle H. Veitch This thesis examines the reviews of Christiane Pflug's exhibition of do11 paintings at the Isaacs Gallery from May to June of 1964 and uncovers the gendered politics behind the art discourse surrounding the critical interpretations of Pflug's works. 1 consider how the reviewers establish the painter as a mother and housewife, suggesting that she produces in a domestic sphere, thus removing her from a gallery context. At the same time, they connect Christiane Pflug to the painted image of the black and white dolls which are shown in an interior environment and placed against altering land- and cityscape views. This thesis also examines Pflugls experience as a German immigrant woman in Canada and relates the reviews of her works to the social environment in Toronto during the sixties, focusing on the changing position of German and Caribbean fernales. In my opinion, Christiane Pflug's do11 paintings offer a shifting perspective of reality and capture the experiences of a woman transient who moves from place to place, constantly switching locations and gaining a new outlook on life. iii 1 would like to dedicate this thesis to my belated grandmother, Hildegard Luchner, whose strength and spirit remain a constant source of inspiration. liemember me when 1 am gone away, Gone far away into the silent land; When you can no more hold me bv the hand, Nor 1 half turn to go yet turhng stay.. -Christha Rossetti Acknowledgement s This thesis was the result of a lot of work which could not have been completed without the assistance of vaxious people. First, 1 would like to thank my academic advisor, Dr. Janice Helland for her continued guidance and support throughout my thesis endeavour. 1 would like to express my gratitude to my readers, Dr. Catherine Mackenzie and Dr. Loren Lerner for their insightful comments and words of advise. In addition, 1 wish to extend my appreciation to Michael Pflug for being so open and giving with his time and research material. 1 am also grateful to the friends and family of Christiane Pflug who provided me with invaluable information on the artist. Finally, 1 would like to thank my own friends and family for encouraging me to pursue rny academic goals. Table of Contents List of Figures ...........................................vii List of Illustrations ......................................x Intxoduction ...............................................1 Chapter One Do11 as Image of the Immigrant Domestic ...................33 Chapter Two Surrealism and German Femininity .......................... 52 Chapter Three Magic Realism. Neue Sachlichkeit and Cultural Identity ....80 Chapter Four German Art History and Woman as Artistic Producer ........107 Conclusion ............................................... 139 Illustrations ............................................144 Appendix .................................................155 Bibliography .............................................159. List of Figures Figure 1. Invitation card to Christiane Pflugls Exhibition at the Isaacs Gallery from May 15 to June 5 (1964). Reproduced from original invitation courtesy of Michael Pflug . Figure 2. Isaacs Gallery Interior, Ca. 1962. As reproduced in Canadian Art 19, no. 1 (January/February 1962): 12. ' Figure 3. Michael Snow, Seated Nude, 1955, painted collage, 40 x 30 inches. As reproduced in Ken Lefolii, "Faces and Figures," chap. in A Centurv of Art: Great Canadian Paintinq (Toronto: Canadian Centennial Publishing Co., 1966), 88. Figure 4. Michael Snow, Mixed Feelinss, 1965, polymer and enamel on canvas, 101 x 61 inches. As reproduced in Ken Lefolii, "Introduction," chap. in A Centurv of Art: Great Canadian Paintinq (Toronto: Canadian Centennial Publishing Co., 1966), 30. Figure 5. Above, Photograph of Michael Pflug with his painting, Evenins on Yonse Street. Belaw, Photograph of Christiane Pflug with her painting, On the Black Chair. As reproduced in Barrie Hale, "From Ultra Modern to Representationalw, Toronto Telesram, 30 Novernber 1963, S 18. Figure 6. Above left, Kazuo Nakamura, Power Structure, oil on canvas, 36 x 48 inches. Below left, Kenneth Lochhead, The Dianitarv, 16 x 30 inches. As reproduced in Paddy O'Brien, "Surrealiçm,~Canadian Art 20, no. 6 (Nov/Dec 1963): 352-353. Figure 7. Mary Bauermeister, Stein Prosression (Stone Proaresçionl, 1963, stone, sand, lime and wood, 130 x 120 inches. As reproduced in Maria Velte, "Bildteil," in Marv Bauermeister Gemalde und Obieckte 1952- 1972 (Koblenz: Mittelrhein Museum, 1972), plate 38. Figure 8. Mary Bauermeister, Leinen - Nahbild - Lichtkasten (Linen - Close-UP - Photoara~hs),1963, dyed linen, india ink, needlework and canvas, 206 x 112 inches. As reproduced in Maria Velte, lTBildteil,"in Marv Bauermeister Gemalde und Obieckte 1952-1972 (Koblenz: Mittelrhein Museum, 1972), plate 36. vii Figure 9. Mary Bauermeister, detail of Leinen - Nahbild - Lichtkasten (Linen - Close-UD - Photosra~hs), 1963, dyed linen, india ink, needlewosk and canvas, 205 x 112 inches. As reproduced in Maria Velte, "Bildteil," in Marv Bauermeister Gemalde und Obieckte 1952-1972 (Koblenz: Mittelrhein Museum, 1972), plate 37. Figure 10. Mary Bauermeister, Ordnunasschichten (Order), 1962, india ink, tempera, water colour and wood, 120 x 120 inches. As reproduced in Maria Velte, "Bildteil," in Marv Bauermeister Gemalde und Obieckte 1952-1972 (Koblenz: Mittelrhein Museum, 1972), plate 32. Figure 11. Mary Bauermeister, Flachen-sefaltet-SkulPtur (Folded Sculpture), 1963, india ink, plastic straws, lime, plastic tubes, sand, stones and wood. As reproduced in Maria Velte, "BildteilJnin Mary Bauermeister Gemalde und Obieckte 1952-1972 (Koblenz: Mittelrhein Museum, 1972), plate 34. Figure 12. Mary Bauermeister, detail of wood panel from Flachen-aefaltet-Skul~tur(Folded ScuZ~ture), 1963, india ink on wood. As reproduced in Maria Velte, nBildteil,llin Marv Bauermeister Gemalde und Obieckte 1952-1972 (Koblenz: Mittelrhein Museum, 1972), plate 35. Figure 13. Mary Bauermeister, Nutzlose Nadeln (Needless Needles), 1964, india ink, water colour and paper. As reproduced in Maria Velte, "Bildteil,ll in Marv Bauermeister Gemalde und Obieckte 1352-1972 (Koblenz: Mittelrhein Museum, 1972), plate 48. Figure 14. Mary Bauermeister, Verteidicre Deine Freiheit nicht mit verslfteten Pilzen oder Ehruns an John Case _(Donltdefend vour freedom with ~oisonedmushrooms or Homrnase à John Case), 1964, india ink, tempera, paper and mushroom on glass, 60 x 74 31 inches. As reproduced in Maria Velte, lrBLldteil, in Mary Bauermeister Gemalde und Obfeckte 1952-1972 (Koblenz: Mittelrhein Museum, 1972), plate 40. Figure 15. Above, photograph of Christiane Pflug. Below, Christiane Pflug, The Black Chair series. As reproduced in Constance Mungal1,'"Ontario Artists: Christiane Pflug", Ontario Homes and Livinq, September 1964, 17. viii Figure 16. Christiane Pflug, On the Balconv. As reproduced in Constance Mungall, "Ontario Artists: Christiane Pflug", Ontario Homes and Livinq, September 1964, 16. Figure 17. Henri Rousseau, La ~ohémienneEndormie (The Slee~insGVPSV), 1897. As reproduced in Jean Bouret, Henri Rousseau, trans. Martin Leake (Greenwich, Connecticut: New York Graphic Society, 1961), 85, fig. 13. LIST OF ILLUSTRATIONS Illustration 1. Christiane Pflug, Yith the Last Snow, 1964, oil on canvas, 47 x 39 inches. Photographic reproduction courtesy of Michael Pflug. Illustration 2. Christiane Pflug, On the Balconv 1, 1963, oil on canvas, 10 x 8 inches. Photographic reproduction courtesy of Michael Pflug. Illustration 3. Christiane Pflug, On the Balconv II, 1963, oil on canvas, 47 x 39 inches. As reproduced in Paul Duval, "Christiane
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