Marianne Werefkin and the Women Artists in Her Circle (Avant-Garde Critical Studies, 33)

The volume traces the relationships between Marianne Werefkin and the women artists in her circle. Specifically focusing on issues of cosmopolitan culture, transcultural dialogue, gender roles, and the building of new artistic networks, it re-evaluates the contributions of these artists to the development of modern art. Readership: All interested in 20th-century art, European modernism and the avant-garde movements, specifically women artists. Relevant also for advanced undergraduate and graduate courses in art history, cultural history, German and Slavic studies, and gender studies as well as an international audience of scholars and museum experts. Marianne Werefkin and the Women Artists in Her Circle Copyright Contents Acknowledgements List of Illustrations List of Contributors Introduction 1 Marianne Werefkin: Clemens Weiler’s Legacy 2 Marianne Werefkin—From the Blue Rider to the Great Bear: An Exhibition in Retrospect Section 1: The Cultural Worlds of Marianne Werefkin Part 1: Germany and Switzerland as Places of Exchange and Inspiration 3 Marianne Werefkin in Prerow, 1911: The Periphery as Focus 4 Exile, the Avant-Garde, and Dada: Women Artists Active in Switzerland during the First World War Part 2: Crossing National, Cultural, and Gender Borders 5 The Cosmopolitan Approach as a Constituent Aspect of Modernist Thought 6 Women Artists of Marianne Werefkin’s Circle: Sisters or Rivals? The Case of Vera Abegg-Verevkine 7 Performing the Wo/man: The “Interplay” between Marianne Werefkin and Else Lasker-Schüler 8 “Between us sleeps our child—art”: Creativity, Identity, and the Maternal in the Works of Marianne von Werefkin and Her Contemporaries 9 Transcending Gender: Cross-Dressing as a Performative Practice of Women Artists of the Avant-garde Section 2: The OEuvre of the Women Artists in Marianne Werefkin’s Circle and Beyond Part 3: The Women Artists in Marianne Werefkin’s Immediate Circle 10 Erma Bossi 11 Maria Marc’s Letters 12 Elisabeth Epstein: Moscow–Munich–Paris–Geneva, Waystations of a Painter and Mediator of the French-German Cultural Transfer 13 The Artist Elena Luksch-Makowsky: Between St. Petersburg, Munich, Vienna, and Hamburg Part 4: The Women Artists in Marianne Werefkin’s Larger Cultural Circle 14 Natalia Goncharova: Artistic Innovator and Inspiring Muse 15 Women as Catalysts for Innovation in Printmaking: Anna Ostroumova-Lebedeva and Elizaveta Kruglikova 16 First Modernist Women Artists in Latvia and Their Paths into the International Art Scene Index 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 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-Schler, Marta Liepia-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. Shulamith Behr, Marina Dmitrieva, Simone Ewald, Bernd Fthke, Olga Furman, Petra Lanfermann, Tanja Malycheva, Galina Mardilovich, Antonia Napp, Carla Pellegrini Rocca, Dorothy Price, Hildegard Reinhardt, Kornelia Rder, Kimberly A. Smith, Laima Laukaite-Surgailiene, Baiba Vanaga, and Isabel Wnsche 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-Schuler, Marta Liepina-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