Media Information November 2016 The Better Half - Jewish Women Artists Before 1938 November 4, 2016, to May 1, 2017 Vienna 1900 was also a city of women. In spite of the difficult situation for women in art, many female artists managed to make a career in the early days of Modernism. A disproportionate number of these women artists came from assimilated Jewish families. Painters like Tina Blau, Broncia Koller-Pinell, Marie-Louise von Motesiczky, and the ceramic artists Vally Wieselthier and Susi Singer are still known today. Many others, however, like the sculptress Teresa Feodorovna Ries, the painters Grete Wolf-Krakauer and Helene Taussig, and the painter and illustrator Lili Réthi, have been unfairly forgotten. The exhibition The Better Half presents forty-four of these artists and describes their studies and careers, their struggle for recognition in a male-dominated art world, and the promising careers interrupted through expulsion and exile, or extinguished forever in the Nazi extermination camps. An exhibition with lots of new findings and rediscoveries. Outstanding personalities In the much-vaunted fin-de-siècle, a golden age of art and culture, it was almost unthinkable for a woman to pursue an artistic career. Jewish women were prominent as salon hostesses or patrons of the art in the late nineteenth and early twentieth centuries, but they were excluded from official art education institutes and indeed academic life in general. They were not admitted to art academies until 1920, and for that reason many young women attended art schools specially set up for them. Particularly in Jewish families, which set great store by education, girls were encouraged to pursue their artistic talents and were offered opportunities to obtain an art education, sometimes through expensive private tuition with a male artist, and later with their own studio. As the artists’ associations at the turn of the century did not admit women, in 1910 they founded the Vereinigung bildender Künstlerinnen Österreichs (Austrian Association of Women Artists—VBKÖ), which still exists today. They were supported by the aristocracy but also by prominent and influential Jewish families (Bondi, Ephrussi, Gomperz, Gutmann, Rothschild, Schey, Wertheimstein, etc.). These associations represented the interests of their members and endeavored through exhibitions and other events to improve their earnings potential and reputation. An above-average proportion of Viennese women artists came from Jewish families, including some of the most well-known and important artists of their time, such as Tina Blau, Broncia Koller-Pinell, or Vally Wieselthier. Their families had often come from shtetls in Galicia, but they themselves were generally from assimilated backgrounds. It took some time for even the most prominent of them to be accepted as independent artists. It is not possible to generalize about the contribution as a whole of Jewish women artists. They constituted a very heterogeneous group, whose forms of artistic expression differed widely and highlighted the uniqueness of their personalities. The Pioneers Tina Blau and Teresa Feodorovna Ries were among the first women in the late nineteenth century to pursue professional careers as artists. In the 1860s and early 1870s the landscape painter Tina Blau was the only female representative of “Stimmungsimpressionismus,” the Austrian version of the pan-European 1 atmospheric landscape painting movement inspired by the Barbizon school. The Russian-born sculptress Teresa Feodorovna Ries was unfazed by the difficult working conditions and managed to establish a place for herself in what had until then been an exclusively male domain. Wiener Werkstätte In the years before World War I, female artists played an important role in the Wiener Werkstätte founded in 1903 by Josef Hoffmann and Kolo Moser with the financial backing of the Jewish industrialist and patron of the arts Fritz Waerndorfer. Its aim was to combine applied and visual arts on an equal footing. The most prominent female representatives like Vally Wieselthier, Susi Singer-Schinnerl, and Kitty Rix were Jewish. Wieselthier even exhibited her works in 1928 at the Metropolitan Museum’s International Exhibition of Ceramic Art; Singer and Rix transformed traditional household ceramics into exceptional sculptures. Careers Abroad Already in the 1920s, many Viennese women artists moved abroad or at least lived there for a time: the painter Lilly Steiner to Paris, Vally Wieselthier to the USA, the graphic artist Bertha Tarnay first to Berlin and then to Britain, and the painter Grete Wolf-Krakauer to Palestine. They were prompted to leave for many different reasons: the difficult economic situation in Austria, the need to broaden their artistic horizon, Zionism, a desire for adventure and the new freedom of a Bohemian lifestyle, which women could now also pursue, or, as in the case of Friedl Dicker, political reasons. She had been arrested in 1934 for Communist activities and escaped in 1936 after being released from prison. The End The hard-earned acceptance was short-lived, and the careers of Jewish women artists was abruptly terminated by the Shoah. Some were able to escape, leaving everything behind and struggling in exile to make a new life of any kind let alone pursue their artistic endeavors. Others, like Friedl Dicker-Brandeis, were unable to escape and were deported and killed, extinguishing all memory of them. This is all the more poignant considering the fact that before the annexation of Austria to Nazi Germany in March 1938, the Jewish origins of many of these women had been completely irrelevant. Information The exhibition is curated by Andrea Winklbauer and Sabine Fellner and designed by Conny Cossa and Julia Nuler. It is accompanied by a media guide in German and English, downloadable free of charge for smartphone or tablet. Devices can also be loaned by the Museum. A catalogue in English and German is being published by Metro-Verlag, available now at the Museum bookshop for €29.90. The exhibition The Better Half—Jewish Women Artists Before 1938 can be seen from November 4, 2016, to May 1, 2017, at Museum Dorotheergasse, a member of Wien Holding. The museum at 1010 Vienna, Dorotheergasse 11, is open Sundays to Fridays from 10 am to 6 pm. Museum Judenplatz, Judenplatz 8, 1010 Vienna, is open Sundays to Thursdays from 10 am to 6 pm and Fridays from 10 am to 2 pm (during the summer until 5 pm). Further information and details about reduced prices can be found at www.jmw.at or [email protected]. A free guided tour of the permanent exhibition is offered every Sunday at 3 pm. At 4.30 pm on the first Sunday of the month a free guided tour of Museum Judenplatz is also included in the ticket price. Further information and details about reduced prices can be found at www.jmw.at or [email protected]. Queries Alfred Stalzer, media spokesman Tel.: +43-1-505 31 00 Cell: +43-664-506 49 00 E-mail: [email protected] Petra Fuchs, media assistant Tel.: +43-1-535 04 31-113 Cell: +43-699-15205559 E-mail: [email protected] 2 Photo and press material on current exhibitions can be found on the Media Office website at www.stalzerundpartner.com under Service/Downloads. A survey of current exhibitions and events is available on YouTube at https://www.youtube.com/user/JewishMuseumVienna, Flickr at http://www.flickr.com/photos/jewish_museum_vienna, and Instagram at https://www.instagram.com/jewishmuseumvienna/. In partnership with: We thank the following for their support: Our special thanks also go to Mediapartner: 3
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