The Memory Factory
The Forgotten Women Artists of Vienna 1900
Published by: Purdue University Press
Title Page, Copyright Page
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This book would not have been possible without the assistance of many, to whom I express my sincere gratitude. My first thanks go to Gary Cohen for supporting this project at Purdue University Press and for his erudite comments. Michael Gubser, who read the entire manuscript, also made excellent suggestions. I owe a debt of...
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Although studies of the cultural life of Vienna 1900 have become a veritable industry over the last thirty years, there is still much to be uncovered and analyzed about the development of art, literature, scholarship, science, and popular culture in that rich milieu. Julie M. Johnson’s The Memory Factory: The Forgotten Women Artists of Vienna...
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“Too much Feodorowna Ries! A windstorm of publicity is blowing through the Viennese leaflet-woods.”1 This was Karl Kraus’s complaint on the media interest that sculptor Teresa Ries (1874-1956) attracted when she opened her atelier at the Palais Liechtenstein to a ten-year show of her work. Ries, who won the...
Writing, Erasing, Silencing: Tina Blau and the (Woman)Artist’s Biography
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Impressionist Tina Blau (1845-1916) painted aesthetically innovative works, like the 1898 View of Vienna, in which she allows the paint to hover over the canvas, the brushstrokes and color taking precedence over the figures and landscape that they represent (fig. 3). Cultural critics Karl Kraus (1874-1936), Rosa Mayreder...
Elena Luksch-Makowsky and the New Spatial Aesthetic at theVienna Secession
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Like fellow Russian Teresa Ries, Elena Luksch-Makowsky (1878-1965) lived her most productive and successful years as an artist in Vienna at the turn of the century. They were only two of several women who exhibited their works at the Secession. But they stand out for different reasons: Ries (1874-1956), who...
Broncia Koller and Interiority in Public Art Exhibitions
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Broncia Koller (1863-1934) often exhibited her very modern paintings and graphic woodcuts with the Klimt group, from 1908 onward. But when she was rediscovered in the 1980s, she was described as a “painting housewife” in a news story on the first museum exhibition of her work. The author concluded...
Rediscovering Helene Funke: The Invisible Foremother
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Helene Funke (1869-1957) was an Expressionist painter from Chemnitz whose first documented exhibitions are with Matisse and the Fauves in Paris. Little is known about her life, because nearly all of her personal papers were destroyed or lost during World War II.1 What we do know is that, in aesthetic terms, Funke...
Teresa Ries in the Memory Factory
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Teresa Ries was a most unlikely candidate for art historical oblivion: her celebrity was unparalleled; she was an art star who fashioned over life-size figures in marble, stone, plaster, and bronze—a nude witch sharpening her toenails, a Lucifer (fig. 1), a sculpture titled Death (fig. 80), and an Eve in a fetal position...
Women as Public Artists in the Institutional Landscape
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In 1971, Linda Nochlin wrote one of the most influential essays of feminist art history, in which she explained why there had been no great women artists. It was, she argued, because women were excluded from participating in art institutions: “The fault lies not in our stars, our hormones, our menstrual cycles, or...
The Ephemeral Museum of Women Artists
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With over 300 works of art, the 1910 historical retrospective, The Art of the Woman, was a major blockbuster even by today’s standards.1 The survey emphasized the historical legacy of the “old mistresses,” covering the Italian Renaissance to American and French Impressionism, with 88 works in the central room...
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Despite a lively subculture of misogyny, the discursive culture of fin-de-siècle Vienna alone does not explain why its once famous women artists were forgotten. The difference between 1910 and 1977, the two dates of the retrospective exhibitions of women artists in Vienna and the U.S., is a better place to start. By...
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Page Count: 368
Illustrations: 136 images