Overview

Marianne Werefkin and the Women Artists in Her Circle traces the relationships between the modernist artists in Werefkin’s circle, including Erma Bossi, Elisabeth Epstein, Natalia Goncharova, Elizaveta Kruglikova, Else Lasker-Schüler, Marta Liepiņa-Skulme, Elena Luksch-Makowsky, and Maria Marc. The book demonstrates that their interactions were dominated not primarily by national ties, but rather by their artistic ideas, intellectual convictions, and gender roles; it offers an analysis of the various artistic scenes, the places of exchange, and the artists’ sources of inspiration. Specifically focusing on issues of cosmopolitan culture, transcultural dialogue, gender roles, and the building of new artistic networks, the collection of essays re-evaluates the contributions of these artists to the development of modern art. Contributors: Shulamith Behr, Marina Dmitrieva, Simone Ewald, Bernd Fäthke, Olga Furman, Petra Lanfermann, Tanja Malycheva, Galina Mardilovich, Antonia Napp, Carla Pellegrini Rocca, Dorothy Price, Hildegard Reinhardt, Kornelia Röder, Kimberly A. Smith, Laima Laučkaitė-Surgailienė, Baiba Vanaga, and Isabel Wünsche

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9789004328976

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Although well-known Russian artists Natalia Goncharova and Alexandra Exter, [...] who were promoted equally to their male counterparts as among the most prominent artists of modernism, their introduction has hardly led to recognition of other women artists and their roles in cultural life. [...] That is why the study of networks, interactions, and obstacles in women's careers offered in this collection is an inspiring and productive framework for further research and more systematic approaches to a gender-balanced history of art. - Maria Silina, Universite du Quebec a Montreal / Research Institute for Theory and History of Fine Arts, Russian Academy of Arts, Moscow, Russia, in: Humanities and Social Sciences online, H-Net reviews 2017

Although well-known Russian artists Natalia Goncharova and Alexandra Exter, [...] who were promoted equally to their male counterparts as among the most prominent artists of modernism, their introduction has hardly led to recognition of other women artists and their roles in cultural life. [...] That is why the study of networks, interactions, and obstacles in women's careers offered in this collection is an inspiring and productive framework for further research and more systematic approaches to a gender-balanced history of art. - Maria Silina, Universite du Quebec a Montreal / Research Institute for Theory and History of Fine Arts, Russian Academy of Arts, Moscow, Russia , in Humanities and Social Sciences online, H-Net reviews 2017

Author Information

Tanja Malycheva is an independent researcher. She served as an assistant curator at the Museen Böttcherstrasse, Bremen where she was involved in organizing the exhibitions Me. Myself. Naked. (2013) and Marianne Werefkin: From the Blue Rider to the Great Bear (2014). Currently, she works on Valentin Serov’s portraiture in a pan-European context. Isabel Wünsche, Ph.D. (1997), Heidelberg University, is Professor of Art and Art History at Jacobs University, Bremen. Her book publications include Galka E. Scheyer & The Blue Four: Correspondence, 1924–1945 (2006), Biocentrism and Modernism (2011), Meanings of Abstract Art: Between Nature and Theory (2012), and The Organic School of the Russian Avant-Garde: Nature’s Creative Principles (2015).

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