Käte Hoch (1873-1933) ~ Untitled (Reclining female nude), ca. 1910. Woodcut on thin Japan paper, with red coloring, probably added later. Inscribed “original woodcut” at the bottom left | src Nosbüsch & StuckeKäte Hoch (1873-1933) ~ Ohne Titel (Liegender weiblicher Akt). Holzschnitt auf dünnem Japan, mit punktuellem, wohl später hinzugefügtem roten Kolorit, um 1910 | src Nosbüsch & Stucke
Die deutsche Malerin Käte Hoch (1873-1933) studierte von 1891-1894 an der Münchner Damenakademie. Ab 1906 betrieb sie eine eigene Mal- und Zeichenschule in München und nahm u.a. an Ausstellungen der Münchner Secession und des Kunstvereins München teil. 1933 stürmte ein SA-Trupp ihre Wohnung und ihr Atelier in Schwabing, wobei der Großteil ihrer Werke zerstört wurde.
The German painter Käte Hoch (1873-1933) studied at the Munich Women’s Academy from 1891-1894. From 1906 she ran her own painting and drawing school in Munich and took part in exhibitions at the Munich Secession and the Munich Art Association, among others. In 1933, an SA troop stormed her apartment and studio in Schwabing, destroying most of her work.
Eduard Büchler & Johann Riediger ~ Der Wiener Akt, Serie I (Wien, Otto Schmidt, 1906) | src Bassenge AuktionenEduard Büchler & Johann Riediger ~ Der Wiener Akt, Serie I (Wien, Otto Schmidt, 1906) | src Bassenge AuktionenEduard Büchler & Johann Riediger ~ Der Wiener Akt, Serie I (Wien, Otto Schmidt, 1906) | src Bassenge AuktionenEduard Büchler & Johann Riediger ~ Der Wiener Akt, Serie I (Wien, Otto Schmidt, 1906) | src Bassenge AuktionenDer Wiener Akt, Serie I. Eduard Büchler & Johann Riediger (Wien, Otto Schmidt, 1906) | src Bassenge AuktionenDer Wiener Akt, Serie I. Eduard Büchler & Johann Riediger (Wien, Otto Schmidt, 1906) | src Bassenge AuktionenDer Wiener Akt, Serie I. Eduard Büchler & Johann Riediger (Wien, Otto Schmidt, 1906) | src Bassenge Auktionen
Der Wiener Akt, Serie I. Fotografische Aufnahmen nach der Natur gestellt von Kunstmaler Eduard Büchler aufgenommen von Johann Riediger (Deckeltitel)
Seltenes Mappenwerk mit 24 Aktphotographien nach Motiven des Wiener Jugendstilmalers Eduard Büchler (1861-1958)
Rare portfolio with 24 nude photographs based on motifs by the Viennese Art Nouveau painter Eduard Büchler (1861-1958).
Eduard Büchler & Johann Riediger ~ Der Wiener Akt, Serie I (Wien, Otto Schmidt, 1906) | src Bassenge AuktionenEduard Büchler & Johann Riediger ~ Der Wiener Akt, Serie I (Wien, Otto Schmidt, 1906) | src Bassenge AuktionenEduard Büchler & Johann Riediger ~ Der Wiener Akt, Serie I (Wien, Otto Schmidt, 1906) | DetailEduard Büchler & Johann Riediger ~ Der Wiener Akt, Serie I (Wien, Otto Schmidt, 1906) | src Bassenge AuktionenEduard Büchler & Johann Riediger ~ Der Wiener Akt, Serie I (Wien, Otto Schmidt, 1906) | src Bassenge Auktionen
Jan Toorop ~ Poster for Delft Salad Oil, 1894 (RP-P-1912-2395) | src Rijksmuseum
Affiche Delftsche Slaolie (1894) This poster was commissioned by the Nederlandsche Oliefabriek, an oil manufacturer in Delft. Two women with wavy hair and billowing draperies occupy most of the composition. One of them is dressing a salad.
The inscription on top Delftsche Slaolie makes it clear that the advert concerns salad oil, as do the bottles of salad oil on either side of the text. Below it is the crowned coat of arms of the factory (N O F), with a decorative area with peanuts on the left. The majority of the poster is taken up by the two graceful female figures with long hair and billowing draperies. One sits and is dressing a lettuce salad in a large container; the other has her gaze and hands raised. The women with their emphatic contours draw attention away from the actual advertisement, namely for the salad oil. The wavy, rhythmic interplay of lines with which the women’s hair fills the picture surface made such an impression that it became an icon and lent Dutch Art Nouveau its nickname, slaoliestijl, the ‘salad oil style’. | text adapted from Rijksmuseum [x]
Jan Toorop ~ Image Design for a Poster. Wagenaar’s Cantata ‘The Shipwreck’, 1899. Zincograph in blue-black on yellow wove paper | src AICJan Toorop (1858-1928) ~ Two female figures with clock in hand, 1913 (?). Pencil and chalk on paper. | src RijksmuseumJan Toorop ~ Twee gestileerde vrouwelijke figuren met klok in de hand (1894)
Jan Toorop (1858–1928) was born on the island of Java in the Dutch East Indies, Toorop settled in the Netherlands at the age of eleven. After studying art at the Rijksakademie in Amsterdam, he’d spend his time between The Hague, Brussels, England (where his wife was from), and, after 1890, the Dutch seaside town of Katwijk aan Zee. It was during this time that he developed his distinctive style: highly stylized figures, embedded in complex curvilinear designs, with his dynamic line showing influence from his Javanese roots. While perhaps most famous for turning these techniques to his exquisite poster designs, Toorop also produced a substantial body of work far removed from the anodyne demands of the advertising industry, beautiful but haunting works dealing with darker subjects such as loss of faith and death (that you can find in this other post). | text adapted from Public Domain review
Janis Rozentāls (1866 – 1916) ~ The Princess and the Monkey, 1913, oil on canvas. Latvian National Museum of Art via Google Arts
In the last years of his life, Janis Rozentāls repeatedly returned to the composition with the figures of a princess and monkey. The first of the painting was exhibited in 1913 at the 3rd Baltic Artists Union exhibition and at the international art show in Munich where the Leipzig publisher Velhagen & Klasing acquired reproduction rights ensuring wide popularity for the work. The symbolic content of the decoratively resplendent Art Nouveau composition has been interpreted as an allegory of the relationship between artist and society reflecting the power of money over the artist; on other occasions, the princess is seen as “great, beautiful art” but the monkey as the artist bound by golden chains – its servant and plaything. [quoted from Latvijas Nacionālā bibliotēka (link)]
Janis Rozentāls (1866 – 1916) ~ The Princess and the Monkey, 1913 [DETAIL]
Marcus Behner ~ The Guardian, 1901. Etching after a watercolor by Marcus Behmer. Ver Sacrum, 1903. | src ÖNBMarcus Behner ~ Der Wächter, 1901. Netzätzung nach einem aquarell von Marcus Behmer. Ver Sacrum, 1903. | src ÖNB
Plakatentwurf von Nelly Marmorek (1877 – 1944) Cornelia Nelly Marmorek (née Schwarz) Die Fläche : Entwürfe für decorative Malerei, Placate, Buch- und Druckausstattung(1903) | ÖNBPlakatentwurf von Nelly Marmorek (1877 – 1944) Cornelia Nelly Marmorek (née Schwarz) Die Fläche : Entwürfe für decorative Malerei, Placate, Buch- und Druckausstattung (1903) | ÖNB
For a long time it was Nelly Marmorek’s fate that she was only known as the wife of the successful architect and committed Zionist Oskar Marmorek and as the daughter of the well-known banker Julius Schwarz. But even the few works of her that have survived show that she should be honored as an independent creative personality.
Nelly Marmorek was born Cornelia Schwarz on May 13, 1877 in Vienna and came from a very wealthy family of bankers on her father’s side. Apparently her mother, who was a sister of the well-known and successful composer Ignaz Brüll, brought in her musical talent. Nelly, as she was called, soon showed a talent for drawing and – supported by her art-loving family home, in which composers such as Gustav Mahler and Johannes Brahms and writers such as Arthur Schnitzler and Hugo von Hofmannsthal frequented – sought an artistic education.
In 1901 she began studying at the Vienna School of Applied Arts, where she was a student of Alfred Roller and Carl Otto Czeschka, among others. Her fellow students included Hilde Exner, Emma Schlangenhausen, Moriz Jung and Rudolf Kalvach. The fact that there is an original woodcut of hers in “Ver sacrum” and that she was able to publish four works in the portfolio “Die Fläche” shows that Marmorek was counted among the best of her year by her teachers.
A photograph from the Roller class has been preserved in the archive of the University of Applied Arts in Vienna, in which both of the poster designs by Nelly Marmorek depicted in “Die Fläche” can be seen. The picture, which most likely shows the artist herself at work, also documents that the poster designs were not just small sketches, but were worked out in the original size.
Alfred Rollers Atelier mit den zwei Plakatentwürfen von Nelly Marmorek, um 1903. (Universität für angewandte Kunst Wien, Kunstsammlung und Archiv, Inv.Nr. 18.474/F), Ausschnitt
After Oskar Marmorek, to whom she had been married since 1897, committed suicide in 1909, Nelly Marmorek moved back to her parents’ apartment at Berggasse 13, where she was officially registered until 1928. However, she spent most of her time in France, where she studied painting with Henri Matisse and also took part in exhibitions.
Nelly Marmorek lived in Cannes during World War II. In 1942, southern France was occupied by German troops and now the Jews living here or who had fled here, like Nelly Marmorek, were exposed to the terror of the National Socialist rulers. Marmorek was no longer able to travel to the USA, and she died in Cannes on March 11, 1944.
After basic research, Ingrid Erb wrote in her study of Nelly Marmorek: “Nelly’s death certificate states the address Villa Baron, Avenue Isola Bella, Cannes. A cause of death is not noted. The Villa Baron was confiscated by the German troops during World War II and used by the Nazi occupying power as a headquarters. On March 14, 1944, Nelly Marmorek was buried in the Cimetière Le Grand Jas as a native on common ground with a five-year concession.”
Aranyfüst. Illustrations and book decoration by Ladislas Medgyes. Budapest, Ráth Mór, 1913. | src Jeschke van VlietAranyfüst. Illustrationen sowie Buchschmuck von Ladislas Medgyes. Budapest, Ráth Mór, 1913. | src Jeschke van VlietAranyfüst. Illustrations and book decoration by Ladislas Medgyes. Budapest, Ráth Mór, 1913. | src Jeschke van Vliet
One of the most beautiful Hungarian Art Nouveau books. It contains twenty short stories by Ladislas Medgyes, the Hungarian avant-garde graphic artist and stage designer. His first exhibitions were held in the gallery of the most important Hungarian avant-garde magazine “MA”, which also published his works in print. From the 1920s he lived in Paris, where he founded his school (École Medgyes pour la Technique du Théâtre) of stage design together with the Hungarian architect Erno Goldfinger. He worked as an interior designer all over Europe and in the USA. (quoted from Jeschke Van Vliet)
![Julie Wolfthorn (Berlin) :: Titelblätter (Cover). Jugend. Münchner illustrierte Wochenschrift für Kunst und Leben. — 1898 [detail]](https://unregardoblique.com/wp-content/uploads/2022/10/jugend1898_2_0164-crp-det.jpg?w=1024)
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