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The Female Secession : Art and the Decorative at the Viennese Women’s Academy / Megan Brandow-Faller.

By: Material type: TextTextPublisher: University Park, PA : Penn State University Press, [2020]Copyright date: ©2020Description: 1 online resource (304 p.) : 27 color/60 b&w illustrationsContent type:
Media type:
Carrier type:
ISBN:
  • 9780271086507
Subject(s): DDC classification:
  • 704/.0420943613 23
LOC classification:
  • N332.A93 V528 2020
Other classification:
  • online - DeGruyter
Online resources:
Contents:
Frontmatter -- Contents -- List of Illustrations -- Acknowledgments -- List of Abbreviations -- Introduction: A Female Secession -- Part I Women’s Art Education -- 1. The Art of Unlearning at the Viennese Women’s Academy, 1897–1908 -- 2. Surface Decoration and the Female Handcrafts in the Böhm School -- 3. Separate but Equal? Academic Accreditation and the Question of a Female Aesthetic at the Viennese Women’s Academy, 1908–28 -- Part II The Female Secession -- 4. Kinderkunst and Frauenkunst at the 1908 Kunstschau -- 5. The Birth of Expressionist Ceramics: “Crafty Women” and the Interwar Feminization of the Applied Arts -- 6. Decorative Trouble: Collectivity, Craft, and the Decorative Women of the Wiener Frauenkunst -- Conclusion: The Collapse of the Female Secession, 1928–38 -- Notes -- Bibliography -- Index
Summary: Decorative handcrafts are commonly associated with traditional femininity and unthreatening docility. However, the artists connected with interwar Vienna’s “female Secession” created craft-based artworks that may be understood as sites of feminist resistance. In this book, historian Megan Brandow-Faller tells the story of how these artists disrupted long-established boundaries by working to dislodge fixed oppositions between “art” and “craft,” “decorative” and “profound,” and “masculine” and “feminine” in art.Tracing the history of the women’s art movement in Secessionist Vienna—from its origins in 1897, at the Women’s Academy, to the Association of Austrian Women Artists and its radical offshoot, the Wiener Frauenkunst—Brandow-Faller tells the compelling story of a movement that reclaimed the stereotypes attached to the idea of Frauenkunst, or women’s art. She shows how generational struggles and diverging artistic philosophies of art, craft, and design drove the conservative and radical wings of Austria’s women’s art movement apart and explores the ways female artists and craftswomen reinterpreted and extended the Klimt Group’s ideas in the interwar years. Brandow-Faller draws a direct connection to the themes that impelled the better-known explosion of feminist art in 1970s America. In this provocative story of a Viennese modernism that never disavowed its ornamental, decorative roots, she gives careful attention to key primary sources, including photographs and reviews of early twentieth-century exhibitions and archival records of school curricula and personnel. Engagingly written and featuring more than eighty representative illustrations, The Female Secession recaptures the radical potential of what Fanny Harlfinger-Zakucka referred to as “works from women’s hands.” It will appeal to art historians working in the decorative arts and modernism as well as historians of Secession-era Vienna and gender history.

Frontmatter -- Contents -- List of Illustrations -- Acknowledgments -- List of Abbreviations -- Introduction: A Female Secession -- Part I Women’s Art Education -- 1. The Art of Unlearning at the Viennese Women’s Academy, 1897–1908 -- 2. Surface Decoration and the Female Handcrafts in the Böhm School -- 3. Separate but Equal? Academic Accreditation and the Question of a Female Aesthetic at the Viennese Women’s Academy, 1908–28 -- Part II The Female Secession -- 4. Kinderkunst and Frauenkunst at the 1908 Kunstschau -- 5. The Birth of Expressionist Ceramics: “Crafty Women” and the Interwar Feminization of the Applied Arts -- 6. Decorative Trouble: Collectivity, Craft, and the Decorative Women of the Wiener Frauenkunst -- Conclusion: The Collapse of the Female Secession, 1928–38 -- Notes -- Bibliography -- Index

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Decorative handcrafts are commonly associated with traditional femininity and unthreatening docility. However, the artists connected with interwar Vienna’s “female Secession” created craft-based artworks that may be understood as sites of feminist resistance. In this book, historian Megan Brandow-Faller tells the story of how these artists disrupted long-established boundaries by working to dislodge fixed oppositions between “art” and “craft,” “decorative” and “profound,” and “masculine” and “feminine” in art.Tracing the history of the women’s art movement in Secessionist Vienna—from its origins in 1897, at the Women’s Academy, to the Association of Austrian Women Artists and its radical offshoot, the Wiener Frauenkunst—Brandow-Faller tells the compelling story of a movement that reclaimed the stereotypes attached to the idea of Frauenkunst, or women’s art. She shows how generational struggles and diverging artistic philosophies of art, craft, and design drove the conservative and radical wings of Austria’s women’s art movement apart and explores the ways female artists and craftswomen reinterpreted and extended the Klimt Group’s ideas in the interwar years. Brandow-Faller draws a direct connection to the themes that impelled the better-known explosion of feminist art in 1970s America. In this provocative story of a Viennese modernism that never disavowed its ornamental, decorative roots, she gives careful attention to key primary sources, including photographs and reviews of early twentieth-century exhibitions and archival records of school curricula and personnel. Engagingly written and featuring more than eighty representative illustrations, The Female Secession recaptures the radical potential of what Fanny Harlfinger-Zakucka referred to as “works from women’s hands.” It will appeal to art historians working in the decorative arts and modernism as well as historians of Secession-era Vienna and gender history.

Mode of access: Internet via World Wide Web.

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 27. Jan 2023)