Jeanne Mammen (1890–1976) I

Jeanne Mammen :: Sie repräsentiert (och Selbstbild), um 1928.[watercolor, pencil] Bild: VG Bild-Kunst, Bonn 2017 | src Svenska.yle (selfportrait; self-representation)
Jeanne Mammen :: Sie repräsentiert (och Selbstbild), um 1928. [watercolor, pencil] Bild: VG Bild-Kunst, Bonn 2017 | src Svenska.yle

Watercolorist, painter, printmaker. Raised in Paris. Studied art in Paris, Brussels, and Rome from 1906 until 1911. As a German citizen, was forced to flee France with her family at outbreak of World War I; lost all possessions. Impoverished, settled in Berlin in 1916, where she eventually earned a living making illustrations for fashion magazines and posters for Universum-Film AG (UFA), the film distributor.

After 1924 frequently published drawings and watercolors in major satirical periodicals such as Ulk and Simplicissimus, for which she chronicled the experiences of Berlin’s crop-haired, self-reliant “new women” at work and leisure — experiences that mirrored her own. Often showed them in cramped, distorted spaces, some rendered in lurid tones reminiscent of Henri de Toulouse-Lautrec and others in brilliant, orphic colors of the prewar Parisian avant-garde. Enjoyed growing commercial and critical success; in 1930 had first solo exhibition at Galerie Gurlitt in Berlin. At publisher Wolfgang Gurlitt’s behest, made lithographs illustrating a book of erotic Sapphic poetry, Les Chansons de Bilitis, in 1931–32, which was banned by the Nazis.

Under Nazi dictatorship, remained in Germany but lived in a state of “inner emigration”; refused to exhibit or publish. Turned increasingly to painting in Cubist and Expressionist styles out of solidarity with artists who Nazis defamed as degenerate.

quoted from MoMA

Jeanne Mammen :: Zwei Frauen, tanzend (Two women, dancing), ca. 1928. [Aquarell, Bleistift]. Bild: VG Bild-Kunst, Bonn 2017. | src Svenska.yle
Jeanne Mammen :: Zwei Frauen, tanzend (Two women, dancing), ca. 1928. [Aquarell, Bleistift]. Bild: VG Bild-Kunst, Bonn 2017. | src Svenska.yle
Jeanne Mammen :: Die Rothaarige | The Redhead (Thoughts at the Hairdresser's), um 1928. Drawing, watercolour and pencil on paper. | src Berlinische Galeri
Jeanne Mammen :: Die Rothaarige | The Redhead (Thoughts at the Hairdresser’s), um 1928. Drawing, watercolour and pencil on paper. | src Berlinische Galerie

Jeanne Mammen (1890–1976) made her name in the late 1920s with illustrations for magazines like Simplicissimus, Ulk and Jugend. In an enthusiastic review, Kurt Tucholsky wrote that her figures leaped “from the paper with skin and hair”. Mammen’s favourite motif were women in the city: in a café, at a ball, at the bar or in some sleazy joint. “The Redhead”, printed in Ulk in 1928, sits in the hairdresser’s chair. She is lost in thought as she looks towards the viewer: we are her mirror. The hairdresser is just finishing off the job. The look is perfect: the pale smock, the white skin, the brown shades in the background are an ideal background to set off her red hair, her lips and the blue shadow around her catlike eyes. “The Redhead”is a vamp rather than the sassy athletic young lass more typical of the times. This capricious creature exudes an air of cold detachment. Her beauty is not intended to seduce but is sufficient unto itself. [quoted from Berlinische Galerie]

Jeanne Mammen :: Vor der Leistung | Before the Performance, 1928. Drawing, watercolour and pencil on paper. Private collection, Berlin. | src Arthive
Jeanne Mammen :: Vor der Leistung | Before the Performance, 1928. Drawing, watercolour and pencil on paper. Private collection, Berlin. | src Arthive
Jeanne Mammen :: Carnival in Berlin N III (Fasching Berlin N III), ca. 1930. Watercolor and pencil on wove paper. | src MoMA
Jeanne Mammen :: Carnival in Berlin N III (Fasching Berlin N III), ca. 1930. Watercolor and pencil on wove paper. | src MoMA
Jeanne Mammen :: Carnival in Berlin N III (Fasching Berlin N III), ca. 1930. Watercolor and pencil on wove paper. | src MoMA
Jeanne Mammen :: Carnival in Berlin N III (Fasching Berlin N III), ca. 1930. Watercolor and pencil on wove paper. © 2016 Jeanne Mammen / Artists Rights Society (ARS), New York / VG Bild-Kunst, Germany | src MoMA
Jeanne Mammen :: Illustration für die Zeitschrift "Simplicissimus" - Illustration for the magazine Simplicissimus, around 1930. [Aquarell, Bleistift]. | src arthive
Jeanne Mammen :: Illustration für die Zeitschrift “Simplicissimus” – Illustration for the magazine Simplicissimus, around 1930. [Aquarell, Bleistift]. | src arthive

‘Primula Vera’ (Lo Hesse), 1920

Walter Schnackenberg :: Ballet und Pantomime 'Primula Vera' (Lo Hesse), plate # 7, 1920. | src 1st dibs
Walter Schnackenberg :: Ballet und Pantomime ‘Primula Vera’ (Lo Hesse), plate # 7, 1920. | src 1st dibs

“Schnackenberg was a regular contributor to the German magazines Jugend and Simplicissimus before devoting himself to the design of stage scenery and costumes. In the artist’s theatrical work, his mastery of form, ornamentation, and Orientalism became increasingly evident. He excelled at combining fluid Art Nouveau outlines, with spiky Expressionist passages, and the postures and patterns of the mysterious East.” (quoted from source)

Melancholy, Pain, Resignation

Alfredo Baruffi :: La Melanconia, Il Dolore, La Rassegnazione. | Melancholy, Pain ans Resignation, 1905. | src Italia Liberty on Google Arts & Culture
A. Baruffi :: La Melanconia, Il Dolore, La Rassegnazione. | src Italia Liberty on Google Arts & Culture

Les Chansons Eternelles (1898)

Paul Redonnel :: Les Chansons Eternelles. Nouvelle edition illustrée. Paris, Bibliothéque Artistique et Littéraire, 1898. The illustrations include lithographs by Mucha, Berchmans, Lobel, Cause and etchings by Ranft, Heran and Rassenfosse. | src Bassenge Auktionen

Weisse Ostern, 1927

Weisse Ostern. Zeichnung von W. Schade. | White Easter. Drawing by W. Schade. | Jugend: Münchner illustrierte Wochenschrift für Kunst und Leben, 1927, Band 1 (Nr. 16). | src Universtitätsbibliothek Heidelberg
Weisse Ostern. Zeichnung von W. Schade. | White Easter. Drawing by W. Schade. | Jugend: Münchner illustrierte Wochenschrift für Kunst und Leben, 1927, Band 1 (Nr. 16). | src Universtitätsbibliothek Heidelberg
Weisse Ostern. Zeichnung von W. Schade. | White Easter. Drawing by W. Schade. | Jugend: Münchner illustrierte Wochenschrift für Kunst und Leben, 1927, Band 1 (Nr. 16). | src Universtitätsbibliothek Heidelberg
White Easter. Illustration by Wilhelm Schade Lux. | Jugend Magazine, 1927, Band 1 (Nr. 16). | src Universtitätsbibliothek Heidelberg

Scene im Äades, 1896

Wilhelm Schade :: Scene in Hades. Jugend magazine, 1896, B. 2, H. 50, p. 815. | src Heidelberg University Library
Wilhelm Schade :: Scene im Äades. Jugend: Münchner illustrierte Wochenschrift für Kunst und Leben, 1896, Band 2, Heft 50, Seite 815. | src Universtitätsbibliothek Heidelberg

Scene im Äades
Kain: “Gehört die Schlange nicht der Gattung an, die sich gesonnt hat unter’m Baum des Paradieses?”
Lucifer: “Ei, Deine Mutter Eva muzt, Du fragen, was für ‘ne Art von Schlange sie versucht!”

Scene in Hades
Cain: “Doesn’t the snake belong to the species sunbathed under the tree of paradise?”
Lucifer: “Well, your mother Eva must know, you ask what kind of snake she tries!”
(Lord Byron, “Cain”)

Wilhelm Schade :: Scene in Hades. Jugend magazine, 1896, B. 2, H. 50, p. 815. | src Heidelberg University Library - Universtitätsbibliothek Heidelberg
Wilhelm Schade :: Scene in Hades. Jugend magazine, 1896, B. 2, H. 50, p. 815. | src Heidelberg University Library

Unterwelt ~ Underworld, 1896

C. Schmidt Helmbrechts :: Unterwelt. Orpheus ~ Euridike. Jugend: Münchner illustrierte Wochenschrift für Kunst und Leben, 1896, Band 1 (Nr. 8) | Munich illustrated weekly for art and life, 1896, Volume 1 (Nº 8) | src Universitätsbibliothek Heidelberg
C. Schmidt Helmbrechts :: Unterwelt. Orpheus ~ Euridike. Jugend: Münchner illustrierte Wochenschrift für Kunst und Leben, 1896, Band 1 (Nr. 8) | Munich illustrated weekly for art and life, 1896, Volume 1 (Nº 8) | src Universitätsbibliothek Heidelberg
C. Schmidt Helmbrechts :: Unterwelt. Orpheus ~ Eurydike. Jugend: Münchner illustrierte Wochenschrift für Kunst und Leben, 1896, Band 1 (Nr. 8) [detail] | src Universitätsbibliothek Heidelberg
C. Schmidt Helmbrechts :: Unterwelt. Orpheus ~ Euridike. Jugend: Münchner illustrierte Wochenschrift für Kunst und Leben, 1896, Band 1 (Nr. 8) | Munich illustrated weekly for art and life, 1896, Volume 1 (Nº 8) | src Universitätsbibliothek Heidelberg (full size)
C. Schmidt Helmbrechts :: Unterwelt. Orpheus ~ Euridike. Jugend: Münchner illustrierte Wochenschrift für Kunst und Leben, 1896, Band 1 (Nr. 8) | Munich illustrated weekly for art and life, 1896, Volume 1 (Nº 8) [Full size]

Femme à la marguerite

Alphonse Mucha :: Femme à la marguerite, 1899-1900. 3 tissus imprimés: impression au cylindre sur velours de coton, polychrome. | src Bibliothèque Forney