The Memory Factory

Julie M. Johnson

Description

The Memory Factory introduces an English-speaking public to the significant women artists of Vienna at the turn of the twentieth century, each chosen for her aesthetic innovations and participation in public exhibitions. These women played important public roles as exhibiting artists, both individually and in collectives, but this history has been silenced over time. Their stories show that the city of Vienna was contradictory and cosmopolitan: despite men-only policies in its main art institutions, it offered a myriad of unexpected ways for women artists to forge successful public careers. Women artists came from the provinces, Russia, and Germany to participate in its vibrant art scene. However, and especially because so many of the artists were Jewish, their contributions were actively obscured beginning in the late 1930s. Many had to flee Austria, losing their studios and lifework in the process. Some were killed in concentration camps. Along with the stories of individual women artists, the author reconstructs the history of separate women artists' associations and their exhibitions. Chapters covering the careers of Tina Blau, Elena Luksch-Makowsky, Bronica Koller, Helene Funke, and Teresa Ries (among others) point to a more integrated and cosmopolitan art world than previously thought; one where women became part of the avant-garde, accepted and even highlighted in major exhibitions at the Secession and with the Klimt group.
List of Illustrations

Acknowledgments

Foreword

Introduction

Chapter One: Writing, Erasing, Silencing: Tina Blau and the (Woman) Artist’s Biography

Chapter Two: Elena Luksch-Makowsky and the New Spatial Aesthetic at the Vienna Secession

Chapter Three: Broncia Koller and Interiority in Public Art Exhibitions

Chapter Four: Rediscovering Helene Funke: The Invisible Foremother

Chapter Five: Teresa Ries in the Memory Factory

Chapter Six: Women as Public Artists in the Institutional Landscape

Chapter Seven: The Ephemeral Museum of Women Artists

Chapter Eight: 1900-1938: Erasure

Appendix: Biographies

Bibliography

Index

Sujets

• Jewish
• Histoire
• History

Informations

• Publié par: Purdue University Press
• Date de parution: 15 mai 2012
• Nombre de lectures: 0
• EAN13: 9781612492032
• Langue: English
• Poids de l'ouvrage: 11 Mo

Extrait

The Memory Factory
The Forgotten Women Artists of Vienna 1900
Central European Studies
Charles W. Ingrao, senior editor
Gary B. Cohen, editor
Franz A. J. Szabo, editor
The Memory Factory
The Forgotten Women Artists of Vienna 1900
Julie M. Johnson
Purdue University Press West Lafayette, Indiana
Purdue University Press gratefully acknowledges financial assistance provided for this book by the College of Liberal and Fine Arts and the Department of Art and Art History of the University of Texas at San Antonio.
Cover image: Marie-Louise von Motesiczky, The Travelers , 1938. Oil on canvas. The Marie-Louise von Motesiczky Charitable Trust, London. Photograph courtesy of MLVM Trust.
Copyright 2012 by Purdue University. All rights reserved.
Printed in the United States of America.
Library of Congress Cataloging-in-Publication Data
Johnson, Julie M.
The Memory Factory: The Forgotten Women Artists of Vienna 1900 / Julie M. Johnson.
p. cm. -- (Central European studies)
Includes bibliographical references and index.
ISBN 978-1-55753-613-6 (pbk.) -- ISBN 978-1-61249-224-7 (epdf) -- ISBN 978-1-61249-203-2 (epub) 1. Women artists--Austria--Vienna--Biography. 2. Art and society--Austria--Vienna--History--19th century. 3. Art and society--Austria--Vienna--History--20th century. I. Title.
N6811.J64 2012
704’.042092243613--dc23
[B]
2011047705
I dedicate this book to my daughter Isabel, with love and respect.
Contents
List of Illustrations
Acknowledgments
Foreword
Introduction
Chapter One
Writing, Erasing, Silencing: Tina Blau and the (Woman) Artist’s Biography
Chapter Two
Elena Luksch-Makowsky and the New Spatial Aesthetic at the Vienna Secession
Chapter Three
Broncia Koller and Interiority in Public Art Exhibitions
Chapter Four
Rediscovering Helene Funke: The Invisible Foremother
Chapter Five
Teresa Ries in the Memory Factory
Chapter Six
Women as Public Artists in the Institutional Landscape
Chapter Seven
The Ephemeral Museum of Women Artists
Chapter Eight
1900-1938: Erasure
Appendix: Biographies
Bibliography
Index
Illustrations
Fig. 1. Teresa Ries, Lucifer , ca. 1897.
Fig. 2 . Egon Schiele, The Roundtable , 1918.
Fig. 3 . Tina Blau, View of Vienna , 1898.
Fig. 4 . Tina Blau, Spring at the Prater , 1882.
Fig. 5 . Josef Engelhart, The Cherry Picker , 1893.
Fig. 6 . August Geigenberger, The Painting Dames in the Marées Exhibition , 1909.
Fig. 7 . Tina Blau, Prater Spring , n.d.
Fig. 8 . Elena Luksch-Makowsky, signature block and color woodcut, 1902.
Fig. 9 . Josef Hoffmann, installation of Wiener Werkstätte objects with Elena Luksch-Makowsky’s silverwork, 1907.
Fig. 10 . Elena Luksch-Makowsky, Self-Portrait with Son Peter , 1901.
Fig. 11 . Elena Luksch-Makowsky, Adolescentia , 1903.
Fig. 12 . Koloman Moser, installation, 10 th exhibition of the Vienna Secession, 1901.
Fig. 13 . Koloman Moser, installation, 10 th exhibition of the Vienna Secession, 1901.
Fig. 14 . Koloman Moser, installation with Klimt wall, 10 th exhibition of the Vienna Secession, 1901.
Fig. 15 . Koloman Moser, installation, 10 th exhibition of the Vienna Secession, 1901.
Fig. 16 . Elena Luksch-Makowsky, birth announcement for Peter Luksch, 1901.
Fig. 17 . Elisabeth Vigée-Lebrun, Self-Portrait: Mother with Child , 1786.
Fig. 18 . Koloman Moser, 13 th exhibition of the Secession, 1902.
Fig. 19 . Alfred Roller, cover of the first issue of Ver Sacrum , 1898.
Fig. 20 . Ferdinand Hodler, Deep Emotion , 1901.
Fig. 21 . Ilse Conrat, Wet Hair , 1900-01.
Fig. 22 . Egon Schiele, Mother and Child ( Madonna ), ca. 1908.
Fig. 23 . Josef Hoffmann, 14 th Secession exhibition, 1902.
Fig. 24 . Josef Hoffmann, 14 th Secession exhibition, 1902.
Fig. 25 . Elena Luksch-Makowsky, Death and Time , 1902.
Fig. 26 . Elena Luksch-Makowsky, Sadko’s Viewing of the Brides , 1902.
Fig. 27 . Maximilian Lenz, panel for Beethoven installation, 1902.
Fig. 28 . Throne for Beethoven installation, 1902.
Fig. 29 . Ferdinand Andri, primitive-looking finials, 1902.
Fig. 30 . Josef Hoffmann, 14 th Secession exhibition, 1902.
Fig. 31 . Josef Hoffmann, 17 th Secession exhibition, 1903.
Fig. 32 . Josef Hoffmann, 17 th Secession exhibition, 1903.
Fig. 33 . Josef Hoffmann, 17 th Secession exhibition, 1903.
Fig. 34 . Elena Luksch-Makowsky, Melpomene frieze, 1905.
Fig. 35 . Elena Luksch-Makowsky, Melpomene frieze, 1905.
Figs. 36, 37 . Elena Luksch-Makowsky, Melpomene and the Tragic Chorus , 1905.
Fig. 38 . Elena Luksch-Makowsky, The Abbey of Thélème , 1908.
Fig. 39 . Elena Luksch-Makowsky, Heroic Deeds and Sayings of Gargantua and His Son , 1907.
Fig. 40 . Elena Luksch-Makowsky, The Sauna is Our Second Mother , 1908.
Fig. 41 . Elena Luksch-Makowsky, Woman’s Fate , 1910-12.
Fig. 42 . Elena Luksch-Makowsky, detail, Woman’s Fate , 1911-12.
Fig. 43 . Broncia Koller, Interior in Oberwaltersdorf , after 1912.
Fig. 44 . Broncia Koller, Seated Nude (Marietta) , 1907.
Fig. 45 . Broncia Koller, Still Life with Fruit and Parrot, 1910.
Fig. 46 . Broncia Koller, My Mother , 1907.
Fig. 47 . Egon Schiele, Portrait of the Painter Hans Massmann , 1909.
Fig. 48 . Erwin Lang, Nude (Grete Wiesenthal) , 1909.
Fig. 49 . Broncia Koller, Portrait of Emilie Bittner , 1911.
Fig. 50 . Vincent Van Gogh, Madame Roulin Rocking the Cradle , 1889.
Fig. 51 . Anton Peschka, Portrait of Egon Schiele , 1916.
Fig. 52 . Koloman Moser, Kunstschau Painting Room, 1908.
Fig. 53 . Koloman Moser, Kunstschau Sculpture Room, 1908.
Fig. 54 . Josef Hoffmann, Kunstschau Wiener Werkstätte Room; ceramics by Berthold Löffler and Michael Powolny, 1908.
Fig. 55 . Alfred Roller, Kunstschau detail, Theater Arts Room, 1908.
Fig. 56 . Koloman Moser, Kunstschau Graphic Arts Room, 1908.
Fig. 57 . Koloman Moser, Kunstschau Klimt Room, 1908.
Fig. 58 . Broncia Koller, The Birdcage, 1907-08.
Fig. 59 . Broncia Koller, The Harvest, 1908.
Fig. 60 . Installation of the Koller-Shröder exhibition at the Galerie Miethke, 1911.
Fig. 61 . Gustav Klimt, Adele Bloch-Bauer II , 1912.
Fig. 62 . Broncia Koller, Arco , 1910-12.
Fig. 63 . Broncia Koller, The Last Judgement , 1903.
Fig. 64 . Egon Schiele, Portrait of Dr. Hugo Koller , 1918.
Fig. 65 . Broncia Koller, Egon and Edith Schiele , ca. 1918.
Fig. 66 . Helene Funke, Portrait of a Child (Child from Hungary) , before 1910.
Fig. 67 . Helene Funke, In the Boudoir , 1908-10.
Fig. 68 . Photograph of Helene Funke on her studio terrace, 1913.
Fig. 69 . Helene Funke, Still Life with Two Fish , 1920.
Fig. 70 . Helene Funke, Still Life with Fruit and Vessels , 1931.
Fig. 71 . Helene Funke, Peach Still Life , 1918.
Fig. 72 . Helene Funke, Dancers, 1907-08.
Fig. 73 . Helene Funke, In the Loge, 1904-07.
Fig. 74 . Pierre-Auguste Renoir, The Loge, 1874.
Fig. 75 . Helene Funke, The Dreamers, 1913.
Fig. 76 . Helene Funke, Still Life with Rose Basket , 1910-19.
Fig. 77 . Helene Funke, Still Life with Pheasant, Hunter’s Head, and Dog , 1922.
Fig. 78 . Helene Funke, Still Life with Tropical Plants , 1910-19.
Fig. 79 . Oskar Laske, Ship of Fools , 1923-49.
Fig. 80 . Teresa Ries, Death , 1898.
Fig. 81 . Teresa Ries, Eve , 1909.
Fig. 82 . Teresa Ries, Witch , 1895.
Fig. 83 . Teresa Ries, Sleepwalker , before 1894.
Fig. 84 . Teresa Ries, Bust of Jaromir Mundy , 1897.
Fig. 85 . Teresa Ries, Bust of Hans Wilczek, 1902.
Fig. 86 . Teresa Ries, The Invincibles , 1900.
Fig. 87 . Teresa Ries’s studio photographs, 1928.
Fig. 88 . Elsa Kalmar von Köveshazi in her studio, n.d.
Fig. 89 . Mark Twain in Teresa Ries’s studio, 1897.
Fig. 90 . Teresa Ries, Self-Portrait , 1902.
Fig. 91 . Teresa Ries, The Soul Returns to God , 1903.
Fig. 92 . Teresa Ries, The Soul Returns to God, 1903.
Fig. 93 . Teresa Ries, detail, Sleepwalker , before 1894.
Fig. 94 . Teresa Ries, detail, Sleepwalker , before 1894.
Fig. 95 . Teresa Ries, Penelope , ca. 1912.
Fig. 96 . Ilse Conrat, Wisdom , ca. 1912.
Fig. 97 . Ilse Conrat, detail, Wisdom , ca. 1912.
Fig. 98 . Ilse Conrat, Laundress fountain in progress, ca. 1914.
Fig. 99 . Josef Engelhart, Adam and Eve Fireplace , 1898.
Fig. 100 . Poster for opening of Teresa Ries’s work, 1928.
Fig. 101 . Teresa Ries, Eve , 1905.
Fig. 102 . Teresa Ries, Witch , 1895.
Fig. 103 . Olga Wisinger-Florian, At Breakfast in Karlsbad , 1895.
Fig. 104 . Gustav Pisko in his salon, ca. 1911.
Fig. 105 . Print Club logo.
Fig. 106 . The Art of the Woman exhibition, Central Historical Room, 1910.
Fig. 107 . The Art of the Woman exhibition, cross-shaped plan, 1910.
Fig. 108 . Berthe Morisot, In the Garden , 1882.
Fig. 109 . Eva Gonzalès, The Donkey Ride , 1880-82.
Fig. 110 . Installation of the 16th exhibition of the Secession with Manet’s Portrait of Mlle E.G. , 1870.
Fig. 111 . Marguerite Gérard, The Triumph of Raton , n.d.
Fig. 112 . Käthe Kollwitz, Unemployment , n.d.
Fig. 113 . Catharina Sanders van Hemessen, Madonna and Child , n.d..
Fig. 114 . Judith Leyste