Der Wächter von Marcus Behner

Marcus Behner ~ Der Wächter. Netzätzung nach einem aquarell von Marcus Behmer. Ver Sacrum, 1903. | src ÖNB
Marcus Behner ~ The Guardian, 1901. Etching after a watercolor by Marcus Behmer. Ver Sacrum, 1903. | src ÖNB
Marcus Behner ~ Der Wächter. Netzätzung nach einem aquarell von Marcus Behmer. Ver Sacrum, 1903. | src ÖNB
Marcus Behner ~ Der Wächter, 1901. Netzätzung nach einem aquarell von Marcus Behmer. Ver Sacrum, 1903. | src ÖNB

Plakatentwurf von Agnes Speyer

Plakatentwurf von Agnes Speyer
Die Fläche Entwürfe für decorative Malerei, Placate, Buch- und Druckausstattung | src ÖNB
Plakatentwurf von Agnes Speyer
Die Fläche Entwürfe für decorative Malerei, Placate, Buch- und Druckausstattung | src ÖNB

Die Fläche · Nelly Marmorek

Plakatentwourf von Nelly Marmorek (1877 - 1944) Cornelia Nelly Marmorek (née Schwarz)
Die Fläche : Entwürfe für decorative Malerei, Placate, Buch- und Druckausstattung
Plakatentwurf von Nelly Marmorek (1877 – 1944) Cornelia Nelly Marmorek (née Schwarz)
Die Fläche : Entwürfe für decorative Malerei, Placate, Buch- und Druckausstattung(1903) | ÖNB
Plakatentwourf von Nelly Marmorek (1877 - 1944) Cornelia Nelly Marmorek (née Schwarz)
Die Fläche : Entwürfe für decorative Malerei, Placate, Buch- und Druckausstattung
Plakatentwurf 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.”

quoted from: Austrian Posters / Nelly Marmorek

Aranyfüst by Medgyes (1913)

art nouveau, jugendstil
Aranyfüst. Illustrations and book decoration by Ladislas Medgyes. Budapest, Ráth Mór, 1913. | src Jeschke van Vliet
Aranyfüst. Illustrations and book decoration by Ladislas Medgyes. Budapest, Ráth Mór, 1913. | src Jeschke van Vliet
Aranyfüst. Illustrations and book decoration by Ladislas Medgyes. Budapest, Ráth Mór, 1913. | src Jeschke van Vliet
Aranyfüst. Illustrationen sowie Buchschmuck von Ladislas Medgyes. Budapest, Ráth Mór, 1913. | src Jeschke van Vliet
Aranyfüst. Illustrations and book decoration by Ladislas Medgyes. Budapest, Ráth Mór, 1913. | src Jeschke van Vliet
Aranyfüst. 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)

Lady study by Kolo Moser

Koloman Moser :: Studie einer Dame (Zeichnung, gouache), Wien, um 1900. Etching, gouache. | src MAK
Koloman Moser :: Studie einer Dame (Zeichnung, gouache), Wien, um 1900. Etching, gouache. | src MAK
Koloman Moser :: Studie einer Dame (Zeichnung, gouache), Wien, um 1900. Etching, gouache. | src MAK

Jugend magazine, Nov. 1898

Hans Christiansen :: Titelbild · Cover image. Jugend Magazin, 1898, Nr. 48. | src Universitätsbibliothek Heidelberg
Hans Christiansen :: Cover image. Published in Jugend magazine, 1898, Nr. 48 (detail) | Heidelberg University Library
Hans Christiansen :: Cover image. Published in Jugend magazine, 1898, Nr. 48 (detail) | Heidelberg University Library
Hans Christiansen :: Titelbild · Cover image. Jugend Magazin, 1898, Nr. 48. | src Universitätsbibliothek Heidelberg
Hans Christiansen :: Titelbild · Cover image. Jugend Magazin, 1898, Nr. 48. | src Universitätsbibliothek Heidelberg
Hans Christiansen :: Titelbild · Cover image. Jugend Magazin, 1898, Nr. 48. | src Universitätsbibliothek Heidelberg
Hans Christiansen :: Titelbild · Cover image. Jugend Magazin, 1898, Nr. 48. | src Universitätsbibliothek Heidelberg

Jugend Magazin, 1898

Hans Christiansen :: Titelbild (Cover image). Jugend Magazin, Juli 1898, Nr. 27. | src Universitätsbibliothek Heidelberg
Hans Christiansen :: Titelbild (Cover image). Jugend Magazin, Juli 1898, Nr. 27. | src Universitätsbibliothek Heidelberg
Hans Christiansen :: Titelbild (Cover image). Jugend magazine, July 1898, Nr. 27 [Detail]
Hans Christiansen :: Titelbild (Cover image). Jugend Magazin, Juli 1898, Nr. 27. | src Universitätsbibliothek Heidelberg
Hans Christiansen :: Titelbild (Cover image). Jugend Magazin, Juli 1898, Nr. 27. | src Universitätsbibliothek Heidelberg

Die Gauklerin ~ The Juggler

Die Gauklerin ~ The Juggler (Hoffmann von Vestenhof). Jugend Magazin, 1898. Nr. 38. | src Universitätsbibliothek Heidelberg
Die Gauklerin ~ The Juggler (Hoffmann von Vestenhof). Published in Jugend magazine, 1898, Nr. 38 | src Heidelberg Univ. Library
Die Gauklerin ~ The Juggler (by Hoffmann von Vestenhof). Published in Jugend magazine, 1898, Nr. 38 [Detail]
Die Gauklerin ~ The Juggler (Hoffmann von Vestenhof). Jugend Magazin, 1898. Nr. 38. | src Universitätsbibliothek Heidelberg
Die Gauklerin ~ The Juggler (Hoffmann von Vestenhof). Jugend Magazin, 1898. Nr. 38. | src Universitätsbibliothek Heidelberg

Versuchung, Jugend, 1896

Christian Wild :: Versuchung ~ Temptation. Jugend Magazin, Nov. 1896. Nr. 45. [detail] | src Universitätsbibliothek Heidelberg
Christian Wild :: Versuchung ~ Temptation. Jugend Magazin, Nov. 1896. Nr. 45. [detail] | src Universitätsbibliothek Heidelberg
Christian Wild :: Versuchung ~ Temptation. Jugend Magazin, Nov. 1896. Nr. 45. [detail] | src Universitätsbibliothek Heidelberg
Christian Wild :: Versuchung ~ Temptation. Jugend Magazin, Nov. 1896. Nr. 45. | src Universitätsbibliothek Heidelberg
Christian Wild :: Versuchung ~ Temptation. Jugend Magazin, Nov. 1896. Nr. 45. | src Universitätsbibliothek Heidelberg

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