Georgiana Houghton, The Flower of William Stringer, 1866, © The College of Psychic Studies, London
georgiana Houghton. LA Biennale DI VeneZIA 2022. MILK OF DREAMS. GIARDINI
23. April - 25. September 2022 (11 am - 7 pm)
27. September - 27. November 2022 (10 am - 6 pm)
The Milk of Dreams takes its title from a book by Leonora Carrington (1917–2011) in which the Surrealist artist describes a magical world where life is constantly re-envisioned through the prism of the imagination. It is a world where everyone can change, be transformed, become something or someone else; a world set free, brimming with possibilities. The Exhibition takes place in the Central Pavilion (Giardini) and in the Arsenale, including 213 artists from 58 countries.
Georgiana Houghton spent most of her life in Victorian-era London, a period which saw the rise in a host of beliefs in supernatural forces and energies. Spiritualism, which elaborated a method of communicating with the dead through mediums, was popularised in England in the 1850s, where it quicky saturated literary and artistic culture. For Houghton, Spiritualism enabled a closer relationship to God, even if her religious approach was not necessarily orthodox. Throughout the 1860s and 1870s, she translated that religious ferocity into her “spirit drawings,” a multifaceted series of abstract works on paper.
Curator of the 59th International Art Exhibition, La Biennale di Venezia: Cecilia Alemani
Link: Astrid Mania about Georgiana Houghton on THE HISTORY OF PAINTING REVISITED
Anna Dorothea Therbusch, Selbstporträt mit dem Einglas, 1777, Staatliche Museen zu Berlin
Anna Dorothea Therbusch. Staatliche Museen zu berlin. gemäldegalerie
03.December 2021 until 10. April 2022
"The Gemäldegalerie Berlin is gathering together almost the entire collection of Therbusch works in the holdings of the Staatliche Museen zu Berlin in a focussed special exhibition centred around this major work. Complemented by key works from contemporaries, the show provides a comprehensive overview of the oeuvre and professional milieu of Anna Dorothea Therbusch, and of the age in which she lived."
Link: Claudia Zweifel about Anna Dorothea Therbusch on THE HISTORY OF PAINTING REVISITED
Bow Down: Women in Art History. PODCAST BY Jennifer Higgie ON FRIEZE
"Bow Down is a new podcast about significant women artists from the past who deserve our attention. For each 20-minute episode, Jennifer Higgie – frieze editor at large – invites an artist, writer, historian or curator to nominate an artist to whom we should all … well, bow down."
https://frieze.com/article/bow-down-podcast-women-art-history
Link: Kirstin Rogge about Angelika Kauffman on THE HISTORY OF PAINTING REVISITED
Link: Caro Bittermann about Artemisia Gentileschi on THE HISTORY OF PAINTING REVISITED
Georgia O’Keeffe, Jimson Weed/ White Flower No. 1, 1932.
Photo by Edward C. Robison III. Courtesy of Crystal Bridges Museum of American Art, Bentonville, Arkansas, USA
GEORGIA O'KEEFFE. The most expensive artwork by a female artist
ever sold at auction
In November 2014, Georgia O’Keeffe’s painting Jimson Weed/White Flower No. 1 (1932) became the most expensive artwork by a woman to ever be sold. Alice Walton—heiress to the Walmart fortune and founder of the Crystal Bridges Museum of American Art in Bentonville, Arkansas—purchased the canvas at Sotheby’s for $44.4 million. Mindy Besaw, curator at Crystal Bridges, said the painting “represents an iconic subject by one of the most important and influential modern American artists.” The singular sale was the apotheosis of a trend now sweeping the art world: rising market interest in work by female artists. Sotheby’s published a report noting that between 2012 and 2018, artworks by women have increased in auction values by 72.9 percent. Such potent market forces parallel a larger institutional attempt to finally give undersung female artists the critical attention they deserve.
From: The 10 Moments That Defined Art in the 2010s, on Artsy Net (www.artsy.net)
Link: Brigitte Mahlknecht about Georgia O'Keeffe on THE HISTORY OF PAINTING REVISITED
Tarsila do Amaral, Uruta, 1928, MAM, Rio de Janeiro
Tarsila do Amaral. CANIBALIZING MODERNISM. MUSEU DE ARTE DE SÃO PAULO
05. April – 28. July 2019
Tarsila do Amaral (Capivari, SP, 1886-São Paulo, 1973) is one of the greatest Brazilian artists of the 20th century and a central figure of modernism. This is the widest exhibition ever dedicated to the artist, bringing together 92 works selected taking into consideration new perspectives, readings and contextualizations.
Curated by Fernando Oliva
Link: Marcus Weber about Tarsila do Amaral on THE HISTORY OF PAINTING REVISITED
Lotte Laserstein, Liegendes Mädchen auf Blau, um 1931, Privatbesitz Berlin, ©
VG Bildkunst, Bonn
LOTTE LASERSTEIN. VON ANGESICHT ZU ANGESICHT. Berlinische Galerie
05.April – 12.August 2019
Die Berliner Malerin Lotte Laserstein (1898-1993) ist eine der sensibelsten Porträtistinnen der frühen Moderne zwischen Tradition und Innovation. Bereits als 30-jährige war sie eine berühmte und erfolgreiche Künstlerin. 1933 wurde ihre Karriere brutal beendet.
Vom 5. April bis 12. August präsentiert die Berlinische Galerie 58 Werke, darunter 48 Gemälde und 9 Zeichnungen Lasersteins aus ihrer Berliner Erfolgsperiode und ihren schwedischen Exiljahren. Die vom Frankfurter Städel Museum organisierte und bis zum 17. März dort gezeigte Ausstellung Von Angesicht zu Angesicht wird vom Landesmuseum für Moderne Kunst, Fotografie und Architektur übernommen. In Berlin wird das Werk Lasersteins mit Porträts, Landschaftsbildern, Spätwerken und Bildern aus ihrem künstlerischen Umfeld der 1920/30er Jahre erweitert.
19. September 2018 - 17. März 2019
Städel Museum, Frankfurt a. M.
www.staedelmuseum.de
Kuratoren: Dr. Alexander Eiling (Sammlungsleiter Kunst der Moderne, Städel Museum), Elena Schroll (Wissenschaftliche Mitarbeiterin, Städel Museum)
Link: Kaj Osteroth and Lydia Hamann about Lotte Laserstein on THE HISTORY OF PAINTING REVISITED
Artemisia Gentileschi, Self-portrait, 1637, Galleria Nazionale d'Arte Antica Roma, Italy
The Ladies of the Baroque.
Women painters in 16th and 17th century Italy.
MSK GENT
20.10.18 - 20.01.19
"The ladies of the baroque’ shows how these painters (Sofonisba Anguissola (1532-1625), Fede Galizia (1578-1630), Giovanna Garzoni (1600-1670), as well as Orsola Maddalena Caccia (1596-1676), Lavinia Fontana (1552-1614), Virginia da Vezzo (1601-1638) and Elisabetta Sirani (1638-1665)) tackled the restrictions of their time in inventive ways. To that end, the MSK has brought together an exceptional selection of works from both prestigious museum such as the Galleria degli Uffizi (Firenze), the Gemäldegalerie (Berlin) and the Galleria Borghese (Rome), as well as finds from important private collections. Many of these works have been on public display only occasionally or are presented now for the first time."
https://www.mskgent.be/en/exhibitions/ladies-baroque
Link: Marie Letkowski about Sofonisba Anguissola on THE HISTORY OF PAINTING REVISITED
Link: Zoë Claire Miller about Lavinia Fontana on THE HISTORY OF PAINTING REVISITED
Link: Caro Bittermann about Artemisia Gentileschi on THE HISTORY OF PAINTING REVISITED
"The ladies of the baroque’ shows how these painters (Sofonisba Anguissola (1532-1625), Fede Galizia (1578-1630), Giovanna Garzoni (1600-1670), as well as Orsola Maddalena Caccia (1596-1676), Lavinia Fontana (1552-1614), Virginia da Vezzo (1601-1638) and Elisabetta Sirani (1638-1665)) tackled the restrictions of their time in inventive ways. To that end, the MSK has brought together an exceptional selection of works from both prestigious museum such as the Galleria degli Uffizi (Firenze), the Gemäldegalerie (Berlin) and the Galleria Borghese (Rome), as well as finds from important private collections. Many of these works have been on public display only occasionally or are presented now for the first time."
https://www.mskgent.be/en/exhibitions/ladies-baroque
Link: Marie Letkowski about Sofonisba Anguissola on THE HISTORY OF PAINTING REVISITED
Link: Zoë Claire Miller about Lavinia Fontana on THE HISTORY OF PAINTING REVISITED
Link: Caro Bittermann about Artemisia Gentileschi on THE HISTORY OF PAINTING REVISITED
Hilma af Klint: The Swan (No. 16), 1915
weltempfänger. World Receivers.
Georgiana Houghton – Hilma af Klint – Emma Kunz.
Lenbachhaus Munich
6 November, 2018 – 10 March, 2019
The exhibition World Receivers provides insight into an extraordinary and largely unknown chapter of modernism: completely independent of one another, Georgiana Houghton (1814–1884) in England, Hilma af Klint (1862–1944) in Sweden, and Emma Kunz (1892–1963) in Switzerland each developed their own abstract visual language highly charged with meaning. With their works, all three strove to visualize laws of nature, the spiritual, and the supernatural; they followed their convictions with persistence and self-assertion.
Curated by Karin Althaus and Sebastian Schneider
Link: Astrid Mania about Georgiana Houghton on THE HISTORY OF PAINTING REVISITED
Link: Lina Launhardt about Hilma af Klint on THE HISTORY OF PAINTING REVISITED
Angelika Kauffmann, Selbstbildnis im Alter, um 1802, Privatsammlung © Bettina Baumgärtel, Archiv
ANGELIKA KAUFFMANN. KULTURSTIFTUNG DESSAU WÖRLITZ. HAUS DER FÜRSTIN
5. Juni – 6. Oktober 2019
Bregenz, vorarlberg museum
www.vorarlbergmuseum.at
Die Kulturstiftung Dessau-Wörlitz zeigt im Haus der Fürstin im Gartenreich Wörlitz, eine umfassende Ausstellung der schweizerisch-österreichischen Malerin
Angelika Kauffmann. Anschließend wandert die Ausstellung in das vorarlberg museum nach Bregenz. Die Ausstellung zeigt der Öffentlichkeit erstmals Werke von Angelika Kauffmann (1741–1807) aus zwei österreichischen Privatsammlungen. Rund 150 bedeutende Kunstwerke verdeutlichen die Vielfalt des künstlerischen Wirkens und Lebens der Malerin.
8. Juli 2018 - 21. Oktober 2018
Kulturstiftung Dessau-Wörlitz
Kuratorin: Bettina Baumgärtel
Link: Kirstin Rogge über Angelika Kauffmann auf THE HISTORY OF PAINTING REVISITED
Fahrelnissa Zeid, Break of the Atom and Vegetal Life, 1962, Öl auf Leinwand, 210 x 540 cm, Z. Yildirim Family Collection, © Raad Zeid Al-Hussein
FAHRELNISSA ZEID. DEUTSCHE BANK KUNSTHALLE.
20 October 2017 – 25 March 2018
The retrospective Fahrelnissa Zeid introduces one of Turkey’s most important pioneering modernists to an international audience. The artist, who was born in 1901 on an island off the coast of Istanbul into an upper-class, intellectual family and died in 1991 in Amman, Jordan, was a cosmopolite throughout her life. Her painting, which has been rediscovered beyond Turkey and Jordan in recent years at biennials and international exhibitions, synthesizes a wide range of influences, which relate to her multicultural and very eventful life. A retrospective conceived by Tate Modern in London that is now on view at the Deutsche Bank KunstHalle shows the wide spectrum of her oeuvre for the first time, encompassing works and documents spanning eight decades.
Curator: Kerryn Greenberg, Tate Modern, London
Link: Göksu Kunak about Fahrelnissa Zeid on THE HISTORY OF PAINTING REVISITED
Maria Sibylla Merian, Buschrose mit Miniermotte, Larve und Puppe, 1679, © Städel Museum, Frankfurt am Main
MARIA SIBYLLA MERIAN IM STÄDELMUSEUM FRANKFURT A.M.
11.Oktober 2017 – 14. Januar 2018
Maria Sibylla Merian und die Tradition des Blumenbildes: Blumenmalerei und Naturforschung verbinden sich untrennbar in dem einzigartigen Werk von Maria Sibylla Merian. Die Graphische Sammlung des Städel Museums zeigt meisterhafte Zeichnungen, Druckgrafiken und Bücher der in Frankfurt geborenen Künstlerin und bindet sie in die Tradition der Blumen- und Pflanzendarstellung des 15. bis 18. Jahrhunderts ein.
Link: Katrin Plavčak über Maria Sibylla Merian auf THE HISTORY OF PAINTING REVISITED
Jeanne Mammen, o.T. (Selbstportrait/Ausschnitt), um 1926, Tusche/Aquarell in Skizzenbuch, © VG Bildkunst Bonn, 2017, Repro: © Mathias Schormann
JEANNE MAMMEN in der berlinischen Galerie
06.Oktober 2017 – 15. Januar 2018
Jeanne Mammen (1890-1976) ist eine der sperrigsten und schillerndsten Figuren der jüngeren Kunstgeschichte. Die scharfsinnige Beobachterin porträtierte glamouröse Zeitgenossen, das frivole Nachtleben oder Figuren am Rande der Gesellschaft: unverwechselbare Ikonen der „Goldenen Zwanziger“. Nach 1945 wurde ihr Werk abstrakt. Die Ausstellung Jeanne Mammen. Die Beobachterin. Retrospektive 1910-1975 in der Berlinischen Galerie zeigt 170 Arbeiten aus über 60 Jahren.
Link: Eva Scharrer über Jeanne Mammen auf THE HISTORY OF PAINTING REVISITED
Anita Rée, Selbstportrait (Ausschnitt), 1930, Öl auf Leinwand, © Hamburger Kunsthalle, Foto: Elke Walford
Die Hamburger Kunsthalle präsentiert Anita Rée
06. Oktober 2017 – 04. Februar 2018
Die Hamburger Kunsthalle präsentiert jetzt die erste umfassende Museumsausstellung zum Werk der Hamburger Malerin Anita Rée (1885–1933). Die rund 150 Objekte aus allen Schaffensphasen zeigen das Werk einer faszinierenden Künstlerin der 1920er-Jahre, die in vielerlei Hinsicht ein Leben zwischen den Welten führte. In den Werken Anita Rées spiegeln sich die zum Teil radikalen Veränderungen der modernen Gesellschaft zu Beginn des 20. Jahrhunderts. Im Mittelpunkt steht dabei die noch immer hochaktuelle und existentielle Frage nach der eigenen Identität.
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Die Alte Bibliothek der UDK Berlin wird zum Charlotte-Salomon-Saal
Die Künstlerin Charlotte Salomon war Studentin der Bildenden Kunst an den Vereinigten Staatsschulen für Freie und Angewandte Kunst (heute UdK Berlin).
In diesem Jahr wäre sie 100 Jahre alt geworden, und auf gemeinsamen Vorschlag von AStA und Präsident hat der Akademische Senat beschlossen, die Malerin, Schriftstellerin und Alumna zu ehren und den Raum 101 der Alten Bibliothek in der Hardenbergstraße nach ihr zu benennen. Die Umbenennung gilt ab sofort, bis zum Rundgang vom 21. bis 23. Juli 2017 soll eine entsprechende Beschriftung angebracht werden.
Trotz der zunehmenden Schikanen gegen jüdische Bürgerinnen und Bürger wurde Charlotte Salomon im Februar 1936 regulär immatrikuliert. Nachdem ihr bei einem Wettbewerb der Kunsthochschule der erste Platz wegen ihrer jüdischen Herkunft versagt wurde, verließ sie die Hochschule 1937. Im Oktober 1943 wurde sie in Auschwitz-Birkenau ermordet.
Link: Giovanna Sarti über Charlotte Salomon auf THE HISTORY OF PAINTING REVISITED
Maria Sibylla Merian - from Metamorphosis insectorum Surinamensium, Plate LX. 1705
KUPFERSTICHKABINETT BERLIN SHOWS Maria Sibylla Merian
07 April – 02 July 2017
"In commemoration of the 300th anniversary of the death of the great Maria Sibylla Merian, the Berlin Kupferstichkabinett and the Städel Museum in Frankfurt will be exhibiting outstanding pieces from their collections of her German natural-historical depictions of flowers and insects."
Link: Katrin Plavčak about Maria Sibylla Merian on THE HISTORY OF PAINTING REVISITED
Marlow Moss, Leeds City Art Gallery, June 2014, photo: Jerry Hardman Jones
Marlow Moss AT HAUS KONSTRUKTIV, ZURICH
09 February – 07 May 2017
The Museum Haus Konstruktiv in Zurich, Switzerland shows "Marlow Moss - A Forgotten Maverick".
British artist Marlow Moss (b. 1889 in Kilburn, London, d. 1958 in Penzance, Cornwall) was one of the few female representatives of constructivist art during its beginnings. As a rebel against traditional notions of art and gender, she gave up her female given name Marjorie Jewel in 1919 and called herself Marlow from then on. She cut her hair short and began to mainly wear jodhpurs and shirts. Her art was initially oriented toward Piet Mondrian’s neoplasticism, which she then however extended autonomously and transferred to reliefs and sculptures.
Curated by Lucy Howarth and Sabine Schaschl
Link: Cullinan Richards about Marlow Moss on THE HISTORY OF PAINTING REVISITED
Clara Peeters, Still Life with Crab, Shrimps and Lobster, c. 1635 - 1640, oil on wood, Museum of Fine Arts, Houston
The art of CLARA PEETERS, Museo Nacional del Prado
25 October 2016 – 19 February 2017
The Art of Clara Peeters is an exhibition co-organised with the Koninklijk Museum voor Schone Kunsten in Antwerp in collaboration with the Government of Flanders and sponsored by Fundación AXA. This is the first exhibition at the Prado to be devoted to a woman painter: Clara Peeters. Peeters was a pioneer in the genre of the still life and one of the few women active as a professional painter in early modern Europe. Loaned from different museums and private collections are the fifteen finest works from Peeters’ small known oeuvre, which is generally considered to number around 40 paintings.
Curator: Alejandro Vergara, Chief Curator of Flemish and Northern School Painting, Museo del Prado.
about
The online-archive The History of Painting Revisted was founded in 2014 by the artists Caro Bittermann, Katrin Plavčak, Claudia Zweifel. This website documents women painters of the last centuries. It grows and will continue to do so with invited authors’ contributions. The growing archive is a place of discoveries and a starting point for a possible new formulation of historic conceptions.
Das Online Archiv The History of Painting Revisited wurde 2014 von den drei Künstlerinnen Caro Bittermann, Katrin Plavčak und Claudia Zweifel gegründet. Diese Website dokumentiert Malerinnen der letzten Jahrhunderte und wächst im Laufe der Zeit durch die Text-Beiträge der eingeladenen Autoren und Autorinnen. Das wachsende Archiv ist zugleich ein Ort der Entdeckung sowie Ausgangspunkt möglicher Neuschreibungen historischer Konzeptionen.
Supported by/Unterstützt von: Kulturverwaltung des Berliner Senats © 2016/17, the authors/die Autoren und Autorinnen, the women-painters/die Malerinnen
