Jugendstil Women and the Making of Modern Design

AvSabine Wieber,Grace Lees-Maffei

Inbunden, Engelska, 2021

Del i serien Cultural Histories of Design

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Beskrivning

Jugendstil, that is Germany’s distinct engagement with the international Art Nouveau movement, is now firmly engrained in histories of modern art, architecture and design. Recent exhibitions and publications across the world explored Jugendstil’s key protagonists and artistic centres to firmly anchor their activities within the trajectories of German modernism. Women, however, continue to be largely absent from these revisionist accounts.Jugendstil Women and the Making of Modern Design argues that women in fact actively participated in the cultural and socio-economic exchanges that generated German design responses to European modernity. By drawing on previously unpublished archival material and a series of original case studies including Elsa Bruckmann's Munich salon, the Photo Studio Elvira and the Debschitz School, the book explores women’s important contributions to modern German culture as collectors, consumers, critics, designers, educators, and patrons.This book offers a new interpretation of this vibrant period by considering diverse manifestations of historical female agency that pushed against historically entrenched conventions and gender roles. The book’s rigorous approach reshapes Jugendstil historiography by positing women’s lived experiences against dominant ideologies that emerged at this precise moment. In short, the book advocates women as an integral part of the emergence, dissemination and reception of Jugendstil and questions the deeply gendered histories of this key period in modern art, architecture and design.

Produktinformation

Utgivningsdatum:2021-11-18
Mått:162 x 236 x 20 mm
Vikt:540 g
Format:Inbunden
Språk:Engelska
Serie:Cultural Histories of Design
Antal sidor:248
Förlag:Bloomsbury Publishing PLC
ISBN:9781350088528

Utforska kategorier

Konsthistoria inom Kultur
Genusvetenskap inom Samhälle och politik

Mer om författaren

Sabine Wieber is a Lecturer in History of Art at the University of Glasgow, UK.

Recensioner i media

Discussing many actors not widely known outside specialist circles, Sabine Wieber demonstrates the important roles women played not only in questions of design and creative practice, but also in social and political reforms, feminism, and education...The structure of the book is well-conceived to consider the broader categories beyond artist or designer, allowing Wieber to weave a narrative around complex social and political questions without falling into tropes of design icons or individual hagiographies.

Innehållsförteckning

List of Figures Acknowledgments Introduction: A New Style for a New Age?0.1 Modern Women0.2 The Cultural Geography of Munich around 19000.3 Munich – Berlin0.4 Prince Regent Luitpold 0.5 The Term Jugendstil0.6 Chapters Summary1. Maker: Margarethe von Brauchitsch and the United Workshops 1.1 Introducing Margarethe von Brauchitsch1.2 The Vereinigte Werkstätten für Kunst im Handwerk 1.3 The Kunstsalon Littauer 18961.4 The ‘Seventh International Art Exhibition’ at the Munich Glaspalast1.5 The United Workshops and Margarethe von Brauchitsch1.6 A New Direction for Embroidery1.7 The Materiality of Margarethe von Brauchitsch’s Embroideries1.8 Interiors and Textiles1.9 Machine Embroidery 1.10 Embroidery and Jugendstil Historiography1.11 Was Margarethe von Brauchitsch a Jugendstil Woman?1.12 Relegated to the Sidelines2. Activists: The Elvira Photography Studio and Munich Feminist Politics 2.1 August Endell’s First Commission2.2 August Endell and Munich Jugendstil2.3 The Building and Its Facade2.4 The Interior2.5 The Patrons: Antia Augspurg and Sophia Goudstikker2.6 Studio Photography in Munich around 19002.7 The Photo-Studio Elvira and Munich’s Women’s Movement2.8 The Association for Women’s Interests (1894)2.9 Going their Separate Ways2.10 Jugendstil Experimentation and Political Advocacy 2.11 Postscript3. Students: Education Women at the Debschitz School3.1 The Debschitz School at Dresden3.2 Hermann Obrist (1862-1927)3.3 Wilhelm von Debschitz (1871-1948)3.4 The Lehr- und Versuchsatelier für Angewandte und Freie Kunst3.5 The Curriculum3.6 Women at the Debschitz School 3.7 Art and Design Education in Munich around 19003.8 The Royal Applied Arts School (1868)3.9 The weibliche Abteilung at the Royal School of Applied Arts (1872)3.10 The Munich Women Artists’ Association and its Frauenakademie 3.11 Women at the Debschitz School3.12 Emilie Butters (1879-1961)3.13 Modernism’s Paradox4. Patron: Fashionable Taste at Elsa Bruckmann’s Salon4.1 Elsa Bruckmann (1865-1946)4.2 Munich-Vienna: The Todesco Palais4.3 Marrying into a Publishing Empire4.4 The Bruckmanns’ New Headquarters4.5 Munich-Glasgow: The Dining Room4.6 Munich-London: Hermann and Anna Muthesius4.7 Elsa Bruckmann’s Debut as Salonnière4.8 A Brief History of Salon Culture4.9 The Mackintosh Dining Room-cum-Salon4.10 Salon Culture and Gender 4.11 Elsa Bruckmann’s ‘Enhanced Independence’5. Reformers: Dressing the Part5.1 What is Artistic Dress?5.2 Künstlerkleider and German Dress Reform5.3 Dress and Function5.4 Fashion/Anti-Fashion5.5 Maria van de Velde and Alfred Mohrbutter 5.6 Artistic Dress and Jugendstil Interiors5.7 Health and Beauty5.8 German Life Reform5.9 Dress Reform and Germany’s Women’s Movement 5.10 Jugendstil Women and Dress Reform5.11 Anna Muthesius and Else Oppler5.12 Artistic Dress and the Department Store5.13 The Kaufhaus Oberpollinger and the Warenhaus Hermann Tietz5.14 ShoppingConclusionBibliographyIndex

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