Gender, Modernism, and Regional Identity: The Promotion and Reception of Künstlerinnen in Düsseldorf and the Rhineland, 1890-1920 By Anne Marie Mitzen B.A., Loyola Marymount University, 1996 A. M., Brown University, 1999 Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of History of Art and Architecture at Brown University Providence, Rhode Island May 2011 © Copyright 2011 by Anne M. Mitzen This dissertation by Anne M. Mitzen is accepted in its present form by the Department of the History of Art and Architecture and satisfying the dissertation requirement for the degree of Doctor of Philosophy Date _______________ ________________________________ Hervé Vanel, Advisor Recommended to the Graduate Council Date _______________ ________________________________ K. Dian Kriz, Reader Date _______________ ________________________________ Jenny Anger, Reader Approved by the Graduate Council Date _______________ ________________________________ Peter M. Weber, Dean of the Graduate School iii VITA Anne M. Mitzen Born August 8, 1974 Whittier, California Education Ph.D. 2011 Brown University, History of Art and Architecture Dissertation: Gender, Modernism, and Regional Identity: The Promotion and Reception of Künstlerinnen in Düsseldorf and the Rhineland, 1890-1920 A.M. 1999 Brown University, History of Art and Architecture Qualifying Paper: The Harmony of Discord: Kandinsky and the German Negotiation of Matisse and Picasso B.A. 1996 Loyola Marymount University, Cum Laude Humanities major/ German concentration, Music and Communication Arts minor Professional Experience 2000-2001 Teaching Assistant, Rhode Island School of Design, Introduction to Art History 1998-2000 Teaching Assistant, Brown University, Nineteenth Century Architecture, Contemporary Architecture, Film Architecture 1999 Curatorial Intern, National Gallery of Art, Department of Summer Prints and Drawings, Washington D.C. 1996-1997 Curatorial Intern, Bonner Kunstverein/ Bonn Art Society, Bonn, Germany 1995 Gallery Assistant, Sharon Truax Fine Arts, Venice, Spring California Grants and Fellowships 2002 Joukowsky Fellowship, Brown University Summer 2001-2002 DAAD/ German Academic Exchange Service Research Fellowship iv 1996-1997 Fulbright Grant, University of Cologne, Germany 1995 Eugene A. Escallier Grant Summer v ACKNOWLEDGMENTS As with any dissertation, this project has been an enormous undertaking, and I am deeply indebted to the many scholars who have generously offered their time, guidance, and support throughout the research and writing process. Firstly, I would like to thank the Department of the History of Art and Architecture at Brown University, and my doctoral advisor, Hervé Vanel. I am also deeply indebted to K. Dian Kriz for her encouragement over the years and many helpful suggestions to the manuscript. My heartfelt thanks go to Jenny Anger, at Grinnell College, who as my third reader went above and beyond the call of duty to offer her scholarly advice and, no less important, encourage me to persevere. This dissertation bears the scholarly imprint of those who sadly passed away before it could be completed. It has been greatly enriched by Kermit Swiler Champa, who expertly and patiently guided me through my graduate studies, and Beeke Sell Tower, both of whom offered invaluable advice in the formulation of this project. My research in Germany was generously funded by a grant from the DAAD and a Joukowsky Fellowship. In Düsseldorf, I would like to thank Gertrude Cepl-Kaufmann at Heinrich Heine University, Elisabeth Scheeben at the Stadtarchiv, and Sabine Brenner at the Heinrich-Heine-Institut. It was a pleasant surprise to discover a fellow American, the incredibly helpful Dawn Leach, director of the archive of the Kunstakademie. Michael Matzigkeit at the Düsseldorf Theatermuseum spent an afternoon enthusiastically introducing me to many leading figures of Düsseldorf‘s theater and cultural scene. vi Additionally, I would like to thank Klara Drenker-Nagels at the August-Macke-Haus in Bonn and Beate Fromme at the Karl-Ernst-Osthaus-Archiv in Hagen. I am so grateful for my friends and family, who over the years have offered countless words of encouragement and demonstrated an unfailing belief in my ability to complete this monumental task. Amanda Burdan provided insightful suggestions on early drafts. Hywel Jones and Jenny Shearer offered their love and support, as well as provided many wonderful diversions to my research. Bill Childree served faithfully and energetically as my champion in Germany, and was always there to share each milestone on this journey. My wonderful host family, Luitgarde, Eckart, Katharina, and Nikolaus Schlemm and Spes Pompe, gave me roots in my second home since my time as a college exchange student in Bonn—and provided me with an excellent foundation for researching in the German language. I want to give special thanks to my parents, Paul and Kathleen Mitzen, for their unconditional love and support, as well as their generous financial assistance, which enabled me to concentrate on writing. In addition, my grandmother, Meta Goble, made funding my first year at Brown possible. She is dearly missed. Finally, and most of all, I am deeply indebted to my best friend of fourteen years, Michael O. Voll, without whose friendship, wisdom, and unwavering support none of this would have been possible. I feel truly blessed. Anne M. Mitzen September 2010 vii CONTENTS ACKNOWLEDGMENTS………………………………………………………………..iv LIST OF ILLUSTRATIONS…………………………………………………………....viii INTRODUCTION Origins of Rhenish Cultural Identity: Heimat and the Loreley…....1 CHAPTER 1. Artistic Opportunities for Women in Düsseldorf………....………26 2. The Education of Künstlerinnen in Düsseldorf…..…….….……...62 3. Debates Over Rhenish Identity……..……………………..…….109 4. The Frauen Exhibitions at the Düsseldorf Flechtheim Gallery and the Negotiation of International Modernism……..…………157 ILLUSTRATIONS...……………………………………..…………………………….211 BIBLIOGRAPHY.………………..…………………………………………………….278 viii ILLUSTRATIONS Fig. 1 Carl Joseph Begas, Lureley, 1835, Kreismuseum Heinsberg Fig. 2 Photograph of the Venusteich, Germanenzug, 1877, Künstler Verein Malkasten, Düsseldorf Fig. 3 Peter Cornelius, Hagen versenkt den Nibelungenhort (Hagen Sinks the Nibelung Treasure), 1859, Staatliche Museen zu Berlin – Preussischer Kulturbesitz, Alte Nationalgalerie Fig. 4 Eduard Jakob von Steinle, Loreley, 1864, Schack-Galerie Munich Fig. 5 Friedrich Wilhelm Marterstieg, Loreley, c. 1872, Archiv St. Goarshausen Fig. 6 Philipp Veit, Germania, 1848, Germanisches Nationalmuseum Nuremberg Fig. 7 Emanuel Leutze, Fest der deutschen Einheit (Festival of German Unity), 1848, Künstler Verein Malkasten, Düsseldorf Fig. 8 Lorenz Clasen, Germania auf der Wacht am Rhein (Germania Keeping Watch on the Rhine), 1860, Kaiser Wilhelm Museum, Krefeld Fig. 9 Johannes Schilling, model of the Niederwald Monument, 1875, Bismarck- Museum, Friedrichsruh Fig. 10 Karl Janssen and Johannes Tüshaus, Vater Rhein und seine Töchter (Father Rhine and his Daughters), installed 1897, Düsseldorf Fig. 11 Gustav Rutz, Düsselnixe (Düssel Nymph), c. 1898, Düsseldorf Fig. 12 Reinhold Begas, detail of Rhine nymph, Neptune Fountain, designed 1878, executed 1886-91, Berlin Fig. 13 Hans Thoma, Das Rheintal bei Säckingen (The Rhine Valley near Säckingen), 1899, Staatliche Kunsthalle Karlsruhe Fig. 14 Catalogue of the 1910 Rhein im Bild exhibition, Verband der Kunstfreunde in den Ländern am Rhein Fig. 15 Moritz von Schwind, Vater Rhein spielt die Fiedel Volkers (Father Rhine Playing Volker‟s Fiddle), c. 1865, Schack-Galerie Munich Fig. 16 Peter Becker, Rhine landscape, 1890, 1910 Rhein im Bild exhibition ix Fig. 17 Emilie Preyer, Früchtestillleben mit Blumen im Glas uvind Sektschale (Fruit Still Life with Flowers in a Glass and Champagne Goblet), undated, Galerie Paffrath, Düsseldorf Fig. 18 Photograph of Magda Kröner, undated, Düsseldorf Stadtarchiv Fig. 19 Magda Kröner, Stilleben (Still Life), 1904, Kunstmuseum Düsseldorf im Ehrenhof Fig. 20 Photo of Hanny Stüber in her atelier, 1908, Frauen-Kultur-Archiv, Heinrich- Heine-Universität Düsseldorf Fig. 21 Advertisement for painting school of Hanny Stüber and Else Neumüller, Neue Deutsche Frauen-Zeitung, 1909 Fig. 22 Studies, advanced class for Ornamental and Figural Woodcutting, Düsseldorf Decorative Arts School, Jahresbericht über die Kunstgewerbeschule zu Düsseldorf, 1883-1893 Fig. 23 Diploma of Gertrud Eckermann, March 1907, Düsseldorf Decorative Arts School, Private collection Fig. 24 Nature studies (butterfly wings), Bruckmüller class, Düsseldorf Decorative Arts School, Dekorative Kunst 7 (1904) Fig. 25 Batik and weaved textiles, Ehmcke class, Düsseldorf Decorative Arts School, Dekorative Kunst 7 (1904) Fig. 26 Gertrud Eckermann, Gobelin Tapestry, c. 1909, Ring, Hft. 3 (February 1909), Private collection Fig. 27 Photograph of Anna Simons writing with a quill pen, 1932 Fig. 28 Anna Simons, 4th edition translation of Johnson‘s 1905 manual, Writing and Illuminating, and Lettering Fig. 29 Anna Simons, script for architrave of the German Reichstag, Berlin, installed 1916 Fig. 30 Photograph of Anna Simons teaching at the Düsseldorf Academy, 1933 Fig. 31 Otto Dix, Bildnis der Kunsthändlerin Johanna Ey (Portrait of the Dealer Johanna Ey), 1924, Private collection Fig. 32 Fritz Westendorp, Johanna Ey als Hebamme bei der Geburt des “Jungen Rheinland” (Johanna Ey as Midwife to the Birth of the Young Rhineland), 1919, Museum Kunstpalast Düsseldorf x Fig. 33 Else Deusser-Albert,