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

Le chrysanthème, 1923-1930

Armand Vallée :: Le chrysanthème: [un défet du] “Sourire”. Dessinateurs et humoristes. Armand Vallée [défets d’illustrations de périodiques], 1923-1930. | src BnF

Romeo, 1925

George Barbier :: “Romeo”. Figure of a nobleman in an Italian Renaissance costume. Original pen drawing in gold and colors. Signed “George Barbier 1925” on the right. On handmade paper and cardboard. Paris, 1925. Nice stage design for the representation of a Renaissance nobleman, such as a Romeo from Shakespeare’s drama. The French painter, illustrator and fashion designer George Barbier (1882-1932) is considered one of the most important exponents of Art Deco. | src Bassenge Auktionen

Lady with Parasol, ca. 1920

George Barbier (1882-1932) :: Lady in baroque costume with a light green turban and parasol. Original watercolor pen drawing over pencil, signed, ca. 1920. The drawing shows a lady of advanced age, her head in strict profile to the left, the body from the front. She wears an expansive light brown dress with light blue trimmings and bows. The parasol is also made to match the blue borders and bows. The light green turban with two opulent white feathers, which are held by a golden brooch with an orange-red stone, is striking. | src Bassenge Auktionen

Danseurs égyptiens (n.d.)

Georges Barbier :: Danseurs égyptiens. Encre de chine, gouache et aquarelle sur papier, signée en bas à droite. | src interencheres

Weiblicher Akt, 1910

Egon Schiele :: Weiblicher Akt, 1910. Bleistift, Schwarze Kreide, Pinsel, Aquarell, Deckfarben, Deckweiß, auf braunem Packpapier. | Female Nude, 1910. Pencil, black chalk, brush, watercolor, opaque colors, opaque white, on brown wrapping paper. | src Albertina Museum