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Jeanne Mammen: Art Between Resistance and Conformity in Modern Germany, 19161950 [Hardback]

(University of Birmingham, UK)
  • Formāts: Hardback, 288 pages, height x width x depth: 238x158x24 mm, weight: 780 g, 27 colour & 76 bw illus
  • Sērija : Visual Cultures and German Contexts
  • Izdošanas datums: 17-Nov-2022
  • Izdevniecība: Bloomsbury Visual Arts
  • ISBN-10: 1350239380
  • ISBN-13: 9781350239388
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  • Formāts: Hardback, 288 pages, height x width x depth: 238x158x24 mm, weight: 780 g, 27 colour & 76 bw illus
  • Sērija : Visual Cultures and German Contexts
  • Izdošanas datums: 17-Nov-2022
  • Izdevniecība: Bloomsbury Visual Arts
  • ISBN-10: 1350239380
  • ISBN-13: 9781350239388
Citas grāmatas par šo tēmu:
Jeanne Mammens watercolour images of the gender-bending new woman and her candid portrayals of Berlins thriving nightlife appeared in some of the most influential magazines of the Weimar Republic and are still considered characteristic of much of the glitter of that era. This book charts how, once the Nazis came into power, Mammen instead created degenerate paintings and collages, translated prohibited French literature and sculpted in clay and plasterall while hidden away in her tiny studio apartment in the heart of Berlins fashionable west end.

What was it like as a woman artist to produce modern art in Nazi Germany? Can artworks that were never exhibited in public still make valid claims to protest? Camilla Smith examines a wide range of Mammens dissenting artworks, ranging from those created in solitude during inner emigration to her collaboration with artist cabarets after the Second World War. Smith's engaging analysis compares Mammen's popular Weimar work to her artistic activities under the radar after 1933, in order to fundamentally rethink the moral complexities of inner emigration and its visual culture.

The examination of Mammens life and work demonstrates the crucial role women artists played as both markers and agents of German modernity, but the double marginalisation they have nonetheless encountered as inner émigrés in recent history. It will be of interest to students of German studies, art history, literature, history, gender studies and cultural studies.

Recenzijas

In this study, Camilla Smith wrests Jeanne Mammen from narratives of a sexually liberated Weimar culture and its fall to reveal a more compelling and complex artist. With both sensitivity and precision, Smith illuminates the complexities of Mammens inner emigrationthe fine lines between non-conformism and dissent, camouflage and accommodationfollowed by the risks and possibilities of post-war culture in Berlin. * Frederic J. Schwartz, Emeritus Professor of History of Art and Architecture, University College London, UK * Beautifully illustrated and compulsively readable, Jeanne Mammen: Art Between Resistance and Conformity in Germany, 19161950 explores the dramatic life and multifaceted work of one of Europes most innovative artists. Moving beyond the dazzling Glitter and Doom of Mammens Weimar-era illustrations, Camilla Smith thematizes Mammen as an observer, artist, and translator, a woman alive to the possibilities of her age who lived through two world wars and negotiated her own inner immigration under the Nazi dictatorship. The is a thrilling new examination of an essential modernist artist whose significance has too long escaped scrutiny. * Elizabeth Otto, Professor of Modern & Contemporary Art History, University at Buffalo (SUNY), USA *

Papildus informācija

A detailed account of Jeanne Mammens artistic career in Weimar and her withdrawal from public life under the Nazis, this book fundamentally rethinks the moral complexities of inner emigration and its visual culture.
List of Illustrations
ix
List of abbreviations
xiii
Acknowledgements xiv
Introduction 1(7)
`One should not write books about pictures' 8(3)
1 Forging a career
11(28)
Introduction
11(3)
Finding her feet
14(2)
The fashion illustrator (Modeillustratorin)
16(3)
The mass media - towards a critical position
19(9)
Mammen and sex reform
28(6)
The Songs of Bilitis
34(4)
Conclusion
38(1)
2 Berlin 1947 - going solo
39(24)
Introduction
39(3)
Post-war exhibition cultures
42(2)
Galerie Gerd Rosen and Mammen's solo exhibition
44(8)
Inner emigration
52(4)
Ulenspiegel
56(4)
Mammen's response
60(2)
Conclusion
62(1)
3 National Socialism and private dissent
63(30)
Introduction
63(1)
National Socialism and art
64(2)
Early political resistance
66(4)
A (re-)turn to Cubism
70(2)
Camouflage I: Circus as criticism
72(5)
Artist as translator
77(3)
Towards a third position
80(8)
Kontakt/los
88(3)
Conclusion
91(2)
4 Propaganda, war and the home front
93(28)
Introduction
93(1)
Life on the home front
94(8)
National Socialism, masculinity and warfare
102(6)
Deconstructing the Fuhrer myth
108(5)
Camouflage II: The Picasso Effect
113(6)
Conclusion
119(2)
5 Beginning again: Post-war Berlin
121(30)
Introduction
121(1)
Forging the new out of detritus
122(4)
Ruinenmalerei
126(7)
Exploring plasticity
133(10)
`Madame Picasso'
143(7)
Conclusion
150(1)
6 Bathtubs and Jellyfish: Mammen and post-war cabaret
151(25)
Introduction
151(4)
A literary cabaret
155(7)
Raumbilder: Dance and modern art
162(3)
Renazification?
165(5)
The conflicted case of Ernst Junger
170(2)
Exploring collective guilt
172(4)
Conclusion 176(3)
Epilogue 179(4)
Appendices 183(4)
Notes 187(45)
Bibliography 232(24)
Index 256
Camilla Smith is Associate Professor in Art History in the Department of Art History, Curating and Visual Studies at the University of Birmingham, UK, where she specialises in modern art, architecture and design in Germany and Austria. Her research into aspects of German modernism is published in leading journals such as New German Critique, Oxford Art Journal and Art History, and she has contributed to international exhibitions held in London, Berlin and Vienna.