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University of Cape Town The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgementTown of the source. The thesis is to be used for private study or non- commercial research purposes only. Cape Published by the University ofof Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University Representations of the Black Subject in Irma Stern’s African Periods: Swaziland, Zanzibar and Congo 1922-1955 Clive Kellner Town Cape of A dissertation submitted in fulfilment of the requirements for the award of the degree of UniversityMaster of Arts in Fine Art Faculty of the Humanities University of Cape Town 2012 Abstract This dissertation explores the major themes of Irma Stern’s (1894-1966) representation of the black figurative subject in her African periods: Swaziland, Zanzibar and Congo (1922-1955). Germane to these periods are Stern’s childhood experience in the Transvaal and her training and influences in Germany. My research aims to do the following: (1) address a gap in the current literature on Irma Stern and her African periods (2) to consider whether Stern’s mature periods, Zanzibar and Congo reveal an imaginary ‘primitivist’ mode of representation. Central to my research is the question of Stern’s identity as a woman, settler and Jew, as it is critical to exploring the relation between Stern as a white settler and that of her black figurative subjects as viewed through the discourse of ‘primitivism’. My methodology involves drawing from various archives, primary and secondary literature on Stern Townand Stern’s own writings. My visual methodology includes a comparative analysis of Stern’s early paintings in relation to her influences and formal and iconographic analysis of select ‘mature’ paintings. Cape of University Town Cape of COMPULSORY DECLARATION This work has not been previously submitted in whole, or in part, for the award of any degree. It is my own work. Each significant contribution to, and quotation in, this dissertation from the work, or works, of other people has been attributed, and has been cited and referenced.University Signature: Date: Acknowledgements This dissertation is dedicated to Professor Colin Richards - In Memoriam I would like to acknowledge and thank the staff and faculty of the Michaelis School of Fine Art, University of Cape Town. To Professor Pippa Skotnes and Professor Carolyn Hamilton My thanks to the Director of the Irma Stern Museum, Christopher Peters and Melanie Geustyn, Special Collections, National Library of South Africa To my wife Ronel for her editing and input and our children Gilah and Samuel for their support The National Research Foundation Bursary and the Jules Kramer Music and Fine Art Scholarship 2011 Town Cape of University iii Contents Declaration Abstract Acknowledgements iii List of Illustrations v Introduction 1 Chapter 1 Early Years, Training and Travels: 9 A Biography Chapter 2 German Expressionism and Primitivism:Town 39 Artistic Dispositions Chapter 3 Embodied Fantasies: The Black Body as a Visual Trope 58 Chapter 4 Where Do We Come From?Cape What Are We? 76 Where Are We Going?of Conclusion 102 Appendix 1: Chronology 106 Bibliography 110 University Illustrations Figure 1. Irma Stern (1894-1966) An early drawing of a pepper tree and insects in the Japanese style, Wolmaranstad (1913). National Library of South Africa, Irma Stern archives (MSC 31). © DALRO Figure 2. Irma Stern (1894-1966). A pencil sketch of the German medieval town of Rothenburg ob der Tauber (1911). National Library of South Africa, Irma Stern archives (MSC 31). © DALRO Figure 3. Letter of correspondence written in German and containing an illustration by Max Pechstein dated 1918 and signed M Pechstein. National Library of South Africa, Irma Stern archives (MSC 31) © Irma Stern Trust. Figure 4. Irma Stern (1894-1966) Negroes Sweeping (1918) oil on canvas, unknown. © DALRO Figure 5. An archival photograph from the Entarte KunstTown Degenerate Art exhibition (1937) held in Munich. The Granger Collection, New York. © Hilmar-Bleyl, Berlin/Courtesy the Brücke Museum. Figure 6. Irma Stern (1894-1966) The Palace of the Sultan of Zanzibar (1945) oil on canvas, 71 x 71cm, Musée NationalCape d’ Art Moderne, Centre Georges Pompidou, Paris, France. © DALRO Figure 7. Letter dated 18 May 1951of from Agnes Humbert, Musée National d’Art Moderne in Paris to Irma Stern after the museum acquired Palace of the Sultan of Zanzibar 1944. National Library of South Africa, Irma Stern archives (MSC 31) © Irma Stern Trust. Figure 8. Photographic documentation of the model for Swahili Dhow Woman, 1945. National Library of South Africa, Irma Stern archives (MSC 31) © Irma Stern Trust. Figure 9. HistoricalUniversity map of the Belgian Congo (1908-1960). © Encyclopaedia Britannica. Figure 10. Memorandum of Agreement dated 11 December 1942 between Irma Stern and J.L. Van Schaik LTD. Provisionally titled: An Artist’s Impressions of the Belgian Congo. National Library of South Africa, Irma Stern archives (MSC 31) © Irma Stern Trust. Figure 11. Max Pechstein (1881-1955) Fisherman in Boat (1909), oil on canvas, 75 x 100 cm, private collection. © DACS London. Figure 12. Ernst Ludwig Kirchner (1880-1938) Bathers at Moritzburg (1909/1926) oil on canvas, 74,9 x 199,7 cm, Tate Gallery, London. v Figure 13. Ernst Ludwig Kirchner (1880-1938) Bathers at the Shore (1913/1920) oil on canvas, 70 x 80cm. Galleria Henze, Campione d’Italia. Figure 14. Ernst Ludwig Kirchner (1880-1938) Bathers Under Trees (1913) oil on canvas, 151 x 120 cm. Norton Simon Art Foundation. © Ingeborg and Dr. Wolfgang Henze-Ketterer, Wichtrach/Bern. Figure 15. Max Pechstein (1881-1955) Women with a Boat (1911) oil on canvas, location unknown. © DACS London, 1991 Figure 16. Max Pechstein (1881-1955) Evening in the Dunes (1911) oil on canvas, unknown. Leonard Hutton Galleries, New York. Figure 17. Max Pechstein (1881-1955) Palau Triptych (1917) oil on canvas, 119 x 353 cm. Wilhelm Hack Museum, Ludwigshafen. Figure 18. Photographic image of a traditional men’s house, Palau, Micronesia, date unknown. © Every Culture. Figure 19. Irma Stern (1894-1966) An image from Dumela Morena, Bilder aus Afrika (1920) colour lithograph, private collection. © DALRO Figure 20. Page 43 and 44 of Irma Stern’s journal ParadiseTown 1917-1924. Irma Stern Museum. © Irma Stern Trust. Figure 21. Page 3 of Irma Stern’s journal Paradise 1917-1924 showing the ‘Blue One’. Irma Stern Museum. © IrmaCape Stern Trust. Figure 22. Irma Stern (1894-1966) Composition (1923) oil on canvas, 139 x 95,5 cm, private collection. © ofDALRO. Figure 23. Irma Stern (1894-1966) Repose (1927) oil on canvas, 121x 189 cm, private collection. © DALRO. Figure 24. Irma Stern (1894-1966) The Lemon Pickers (1927) oil on canvas, 100 x 95 cm, private collection. © DALRO. Figure 25. Irma Stern (1894-1966) Daydreaming (1927) oil on canvas, 97,8 x 100,3 cm,University private collection. © DALRO. Figure 26. Photographic documentation showing Irma Stern, Dudley Welch and an unidentified person being served tea at The Firs, Rosebank, Cape Town c. 1930s. National Library of South Africa, Irma Stern archives (MSC 31) © Irma Stern Trust. Figure 27. An archival photograph of Irma Stern posing in her studio in Cape Town in the early 1920’s. National Library of South Africa, Irma Stern archives (MSC 31) © Irma Stern Trust. Figure 28. Irma Stern (1894-1966) The Untouchable (1945) oil on canvas, unknown, private collection. © DALRO. Figure 29. Irma Stern, (1894-1966) Arab Priest (1945) oil on canvas, 97 x 86 cm, Qatar Museums Authority. © DALRO. vi Figure 30. Irma Stern (1894-1966) Bibi Azziza Biata Jaffer (1939) oil on canvas, 91,7 x 84,8 cm, Rupert Family Foundation for the Arts, Stellenbosch, South Africa. © DALRO. Figure 31. Irma Stern (1894-1966) Mangbetu Chief’s Daughter (1942) oil on canvas, 65,6 x 55 cm, gordonschachatcollection, Johannesburg, South Africa. © DALRO. Figure 32. Irma Stern (1894-1966) Watussi Queen (1943) oil on canvas 91,5 x 55 cm, gordonschachatcollection, Johannesburg, South Africa. © DALRO. Town Cape of University vii Introduction My interest in Irma Stern (1894-1966) emerges from my professional practice as a curator and former director of the Johannesburg Art Gallery. At various stages of my career I have had the privilege to work with collections of modern and contemporary South African art. Invariably these collections have contained one or more works by Irma Stern and all have consisted of her African periods. Given the critical discourse of race and representation in much of modern and contemporary South African art, Irma Stern’s portrayal of black figurative subjects remains a contentious issue. Stern’s depictionsTown of her black figurative subjects have led critics to claim that she viewed her subjects as exotic stereotypes rather than individuals (Arnold 1995: 102). This has particular relevance in post-apartheid South Africa today where issues of representation, race and identity are highly contested in various spheres of society and are part of a more generalCape postcolonial interrogation not unique to South Africa. of My primary aim is to render visible a fuller or revised understanding of Irma Stern’s African periods (Swaziland, Zanzibar and Congo) with particular focus on her paintings of black figurative subjects and to register the iconographic and stylistic changes in her representation asUniversity she matured as an artist. Viewed through the discourse of ‘primitivism’, I would like to read Stern’s imaging of black figurative subjects against the primary backdrop of her production and reception and that of her identity as a woman, settler and Jew. Key to this is the reading of her ‘expressionism’ as it developed throughout her African periods as influenced by the earlier period that Stern was actively engaged in the German Expressionist movement in Berlin.
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