Central european studies - 9781557536136 - the memory factory: the forgotten women artists of vienna 1900 di johnson, julie m. (9 risultati)
Lingua: Inglese
Editore: Purdue University Press, 2012
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Condizione: New. Series: Purdue Uni: Central European Studies. Num Pages: 368 pages, Illustrations. BIC Classification: AGB. Category: (G) General (US: Trade). Dimension: 154 x 230 x 28. Weight in Grams: 812. . 2012. Paperback. . . . .
Lingua: Inglese
Editore: Purdue University Press, West Lafayette, 2012
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Paperback. Condizione: new. Paperback. The Memory Factory introduces an English-speaking public to the significant women artists of Vienna at the turn of the twentieth century, each chosen for her aesthetic innovations and participation in public exhibitions. These women played important public roles as exhibiting artists, both…individually and in collectives, but this history has been silenced over time. Their stories show that the city of Vienna was contradictory and cosmopolitan: despite men-only policies in its main art institutions, it offered a myriad of unexpected ways for women artists to forge successful public careers. Women artists came from the provinces, Russia, and Germany to participate in its vibrant art scene. However, and especially because so many of the artists were Jewish, their contributions were actively obscured beginning in the late 1930s. Many had to flee Austria, losing their studios and lifework in the process. Some were killed in concentration camps. Along with the stories of individual women artists, the author reconstructs the history of separate women artists' associations and their exhibitions. Chapters covering the careers of Tina Blau, Elena Luksch-Makowsky, Bronica Koller, Helene Funke, and Teresa Ries (among others) point to a more integrated and cosmopolitan art world than previously thought; one where women became part of the avant-garde, accepted and even highlighted in major exhibitions at the Secession and with the Klimt group. Introduces an English-speaking public to the significant women artists of Vienna at the turn of the twentieth century, each chosen for her aesthetic innovations and participation in public exhibitions. These women played important public roles as exhibiting artists, both individually and in collectives, but this history has been silenced over time. Their stories show that the city of Vienna was contradictory and cosmopolitan. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.
Lingua: Inglese
Editore: Purdue University Press, 2012
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Condizione: New. Series: Purdue Uni: Central European Studies. Num Pages: 368 pages, Illustrations. BIC Classification: AGB. Category: (G) General (US: Trade). Dimension: 154 x 230 x 28. Weight in Grams: 812. . 2012. Paperback. . . . . Books ship from the US and Ireland.
Lingua: Inglese
Editore: Purdue University Press, 2012
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Lingua: Inglese
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Lingua: Inglese
Editore: Purdue Univ Pr, 2012
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Paperback. Condizione: Brand New. 368 pages. 9.00x6.00x1.10 inches. In Stock.
Lingua: Inglese
Editore: Purdue University Press, West Lafayette, 2012
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Paperback. Condizione: new. Paperback. The Memory Factory introduces an English-speaking public to the significant women artists of Vienna at the turn of the twentieth century, each chosen for her aesthetic innovations and participation in public exhibitions. These women played important public roles as exhibiting artists, both…individually and in collectives, but this history has been silenced over time. Their stories show that the city of Vienna was contradictory and cosmopolitan: despite men-only policies in its main art institutions, it offered a myriad of unexpected ways for women artists to forge successful public careers. Women artists came from the provinces, Russia, and Germany to participate in its vibrant art scene. However, and especially because so many of the artists were Jewish, their contributions were actively obscured beginning in the late 1930s. Many had to flee Austria, losing their studios and lifework in the process. Some were killed in concentration camps. Along with the stories of individual women artists, the author reconstructs the history of separate women artists' associations and their exhibitions. Chapters covering the careers of Tina Blau, Elena Luksch-Makowsky, Bronica Koller, Helene Funke, and Teresa Ries (among others) point to a more integrated and cosmopolitan art world than previously thought; one where women became part of the avant-garde, accepted and even highlighted in major exhibitions at the Secession and with the Klimt group. Introduces an English-speaking public to the significant women artists of Vienna at the turn of the twentieth century, each chosen for her aesthetic innovations and participation in public exhibitions. These women played important public roles as exhibiting artists, both individually and in collectives, but this history has been silenced over time. Their stories show that the city of Vienna was contradictory and cosmopolitan. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.
Lingua: Inglese
Editore: Purdue University Press Mai 2012, 2012
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Taschenbuch. Condizione: Neu. Neuware - The Memory Factory introduces an English-speaking public to the significant women artists of Vienna at the turn of the twentieth century, each chosen for her aesthetic innovations and participation in public exhibitions. These women played important public roles as exhibiting artists, both… individually and in collectives, but this history has been silenced over time. Their stories show that the city of Vienna was contradictory and cosmopolitan: despite men-only policies in its main art institutions, it offered a myriad of unexpected ways for women artists to forge successful public careers. Women artists came from the provinces, Russia, and Germany to participate in its vibrant art scene. However, and especially because so many of the artists were Jewish, their contributions were actively obscured beginning in the late 1930s. Many had to flee Austria, losing their studios and lifework in the process. Some were killed in concentration camps. Along with the stories of individual women artists, the author reconstructs the history of separate women artists' associations and their exhibitions. Chapters covering the careers of Tina Blau, Elena Luksch-Makowsky, Helene Funke, and Teresa Ries (among others) point to a more integrated and cosmopolitan art world than previously thought; one where women became part of the avant-garde, accepted and even highlighted in major exhibitions at the Secession and with the Klimt group.
Lingua: Inglese
Editore: Purdue University Press, 2012
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Paperback. Condizione: New. *** FREE UPGRADE to Courier/Priority Shipping Upon Request *** - *** IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy, brand new, pristine, never opened -- 456 pp. ; 136 illus. (46 in color. ) -- with a bonus offer--; Central European Studies; The Memory Factory introduces an English-sp…eaking public to the significant women artists of Vienna at the turn of the twentieth century, each chosen for her aesthetic innovations and participation in public exhibitions. These women played important public roles as exhibiting artists, both individually and in collectives, but this history has been silenced over time. Their stories show that the city of Vienna was contradictory and cosmopolitan: despite men-only policies in its main art institutions, it offered a myriad of unexpected ways for women artists to forge successful public careers. Women artists came from the provinces, Russia, and Germany to participate in its vibrant art scene. However, and especially because so many of the artists were Jewish, their contributions were actively obscured beginning in the late 1930s. Many had to flee Austria, losing their studios and lifework in the process. Some were killed in concentration camps. Along with the stories of individual women artists, the author reconstructs the history of separate women artists' associations and their exhibitions. Chapters covering the careers of Tina Blau, Elena Luksch-Makowsky, Helene Funke, and Teresa Ries (among others) point to a more integrated and cosmopolitan art world than previously thought; one where women became part of the avant-garde, accepted and even highlighted in major exhibitions at the Secession and with the Klimt group.
