![]() Rech’s introduction provides brief biographies of the principal artists and identifies points of intersection in their careers. Artwork in the public domain available from Wikimedia Commons. 2, Hanna Hirsch-Pauli, Portrait of Venny Soldan-Brofeldt, 1887. Rech supplements the atelier focus with comparative analysis of Swede Eva Bonnier’s studio interior (1886) and Norwegian Asta Nørregaard’s 1883 self-portrait. įig. 2), which Rech furthermore concludes “unites all the central concerns” of the book (267). Rech anchors the final chapter, “The Studio Scene,” on Hanna Hirsch-Pauli’s painting of The Artist Venny Soldan-Brofeldt (1886–87, fig. 1), a later portrait from 1885, and a situational scene by Bauck depicting Wegmann painting a portrait (1889). Chapter 2, “The Friendship Image,” explores the paintings by Dane Bertha Wegmann of Swede Jeanna Bauck, including the 1881 example featured on the book cover (fig. ![]() Chapter 1, “The Self-Portrait,” centers on Swedish expatriate Julia Beck’s 1880 painting executed and exhibited in Paris. Rech structures each section on exemplars of “painterly self-fashioning,” with extended analysis of seven paintings over three chapters. Furthermore, the author asserts that the visualized connections between the women elucidate a strategic network eclipsed or erased in extant monographs, collective exhibitions, and theoretical approaches. In her introduction, Rech summarizes her project: “In short, this book is about women who used painting to stage interventions into the representation of the artist” (14). The book’s publication is timely in that it also coincides with relevant exhibitions, including the forthcoming Hirschsprung Collection retrospective on Bertha Wegmann. Makadam published this book in 2021, concurrent with Rech’s defense of the project as her dissertation at Stockholms universitet. Her analysis of paintings and letters as evidence of self-fashioning benefits from her access to previously unpublished archives and new acquisitions of works by women made by major Nordic cultural institutions. Through her narrow focus on a handful of mostly Swedish middle-class painters and sculptors active in the 1880s, Rech ably examines women’s networks, studios, travels, and personal and professional artistic development. summary in Swedish.ģ26 kr hardcover free open-access PDF at .Ĭarina Rech’s Becoming Artists integrates thoughtful and probing epistolary analysis and careful observation of select self-portraits, paintings of artists’ studios, and friendship paintings to interrogate how a pioneering generation of Nordic women painters fashioned their roles as worker-artists using emulation, collaboration, and appropriation. bibliography, notes, index of names, and 6 pp. Göteborg and Stockholm: Makadam Förlag, 2021.Ĥ48 pp. As she did with her contemporaneous stitched-wool works, Bailly painted intuitively and additively. She paired dissonant colors, conjoined geometric and organic shapes, and juxtaposed cleanly outlined forms with choppily brushed passages of paint to form highly dynamic images.Becoming Artists: Self-Portraits, Friendship Images and Studio Scenes by Nordic Women Painters in the 1880s. ![]() (In 1906, when she entered a canvas depicting a mother and child in Paris’s Salon d’Automne, organizers hung it in the Fauve section.) The arching lines forming her hands and arms echo Italian Futurist art.īailly embraced the insouciance of Dada in this portrait by carefully delineating her breasts, the buttons of her jacket, and her signature bob haircut while painting out the entire right side of her face. Her self-portrait’s red, orange, and blue hues echo the palette of Fauve paintings. Her painting style is an amalgam of many approaches. Her apartment in Geneva was a popular meeting place for artists, poets, and musicians, but she did not identify with any particular movement. ![]() Through her training and travels, Alice Bailly became attuned to many vital European art movements of the early 20th century. Aside from the figure’s three-quarter-turn pose, this painting presents an avant-garde version of the traditional artist’s self-portrait. ![]()
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