Дань уважения
Жанна-Маммен-Боген в Берлине.
Некоммерческий фонд Jeanne-Mammen-Gesellschaft e. V. (Société Jeanne Mammen, на французском языке) был создан друзьями художника в 1976 году для продвижения его работ. В 2003 году оно стало Förderverein Jeanne-Mammen-Stiftung e. V (Fondation des Amis de Jeanne Mammen), зависимый от Stadtmuseum Berlin Foundation , для обеспечения его устойчивости.
Картины и скульптуры Маммен находятся в постоянной экспозиции в комнате Жанны Маммен в Max-Delbrück-Centrum в Берлине-Бухе , медицинском исследовательском центре, посвященном Максу Дельбрюку , другу-доктору и покровителю художника.
Резюме каталога его работ было опубликовано в 1997 году.
В 1999 году улица в Берлине-Шарлоттенбурге была переименована в «Жанну-Маммен-Боген» в честь художника.
literature
- Jeanne Mammen 1890–1976. Edited by the Jeanne Mammen Society in conjunction with the Berlinische Galerie (= fine arts in Berlin, volume 5). Stuttgart-Bad Cannstatt 1978.
- Hildegard Reinhardt : «The golden twenties» — Jeanne Mammen 1890 to 1976. In: , H. 2, 32nd year, Konstanz 1980.
- Hildegard Reinhardt: Jeanne Mammen and the «artificial silk girls». In: Die Kunst , H. 9, Munich 1982.
- Hildegard Reinhardt: Jeanne Mammen (1890–1976) — Society scenes and portrait studies of the twenties. In: Low German Contributions to Art History , Vol. 21. Berlin 1982.
- Hildegard Reinhardt: «The songs of Bilitis». In: Jeanne Mammen. Heads and scenes. Berlin 1920 to 1933. Emden, Leverkusen, Hanover, Saarbrücken, Gelsenkirchen 1991/1992 (foreign cat.).
- Annelie Lütgens: «Just being a pair of eyes …» Jeanne Mammen — an artist in her time. Berlin 1991.
- Gerd Presler, gloss and misery of the 20s. The painting of the New Objectivity, dumont tb 285, Cologne 1992, pp. 4, 15, 39, 180f. ISBN 3-7701-2825-7
- Jeanne Mammen 1890–1976. Monograph and catalog raisonné. Edited by Jörn Merkert. Catalog raisonné by Marga Döpping and Lothar Klünner. Contributions by Klara Drenker-Nagels, Carolin Förster, Lothar Klünner, Annelie Lütgens, Jörn Merkert, Freya Mülhaupt, Hildegard Reinhardt and Eva Züchner. Cologne 1997.
- Jeanne Mammen. Paris — Bruxelles — Berlin. Edited by the Friends of the Jeanne Mammen Foundation e. V., Berlin, Berlin 2016.
- Thomas Köhler and Annelie Lütgens (eds.): Jeanne Mammen. The Observer: Retrospective 1910–1975. Hirmer, 2017, ISBN 978-3-77742908-3 . (Catalog for the exhibition of the same name in the Berlinische Galerie, Berlin, October 6, 2017– January 15, 2018.)
- Michael Glasmeier, Annelie Lütgens (ed.): Jeanne Mammen. Rimbaud transmissions. Illuminations and Fragments. Textem Verlag Hamburg 2017, ISBN 978-3-86485-186-5 .
Библиография
- (de) Jeanne-Mammen-Gesellschaft и Berlinische Galerie, Берлин, Жанна Маммен 1890–1976 , Штутгарт, Канц, колл. «Bildende Kunst в Берлине» ( п о 5),1978 г..
- (де) Георг Рейнхардт, Жанна Маммен 1890–1976. Ein Lebensbericht , Эмден,1991 г..
- (де) Аннели Лютгенс, «Nur Ein paar Augen sein …» Жанна Маммен, eine Künstlerin in ihrer Zeit , Берлин, Реймер Верлаг,1991 г..
- (де) Хильдегард Рейнхардт, Жанна Маммен: Das symbolistische Frühwerk 1908–1914 «Скорби художника» , Берлин, Jeanne-Mammen-Gesellschaft,2002 г..
- ( Авторы ) Кристин Мани, Жанна Маммен , Бостельманн и Зибенхаар,2005 г., 125 с. ( ISBN 978-3-936962-28-4 ).
- (ru) Сюзанна Николь Руаяль, Графическое искусство в Веймарском Берлине: Дело Жанны Маммен, доктора философии , Университет Южной Калифорнии,2007 г..
life and work
Jeanne Mammen was born in Berlin as the daughter of a businessman. She grew up in Paris and first attended the Lycée Molière there . From 1906 she studied painting at the Académie Julian , from 1908 to 1910 at the Académie royale des Beaux-Arts in Brussels and in 1911 at the Scuola Libera Academica ( Villa Medici ) in Rome. During this time, she created her symbolist early work with watercolors, which refer to literary models such as Gustave Flaubert’s The Temptation of St. Anthony and were only discovered shortly before her death. In 1913/14 she painted female figures from the Parisian entertainment venue Bal Bullier .
In 1915, after fleeing internment with her family, the artist arrived in Berlin completely penniless. After starting out as a fashion illustrator, she became known for her illustrations for Simplicissimus , the Ulk , the Bachelor and as a collaborator for the art and literary magazine Jugend . After participating in a collective exhibition in 1932/33 in the renowned Gurlitt gallery in Berlin , she had further exhibitions in the Gerd Rosen gallery (1946, 1947) and in the Franz gallery in Berlin in 1948. The motif of her pictures were always types from the street, who she depicted in every conceivable situation. In doing so, she displayed a caricature style that prompted Kurt Tucholsky to praise her: «You are pretty much the only delicacy in the delicatessen shop that your bosses open for us weekly or monthly.»
The new hat by Jeanne Mammen (around 1925) from the holdings of the Staatsgalerie Stuttgart
(Please )
Grave site, Stubenrauchstrasse 43–45, in Berlin-Friedenau
Her numerous hand drawings received the greatest attention. The first solo exhibition in the Gurlitt Gallery in 1930 garnered applause from the Berlin art scene. Her most beautiful creations include her lithographs, including the cycle “Les Chansons de Bilitis”, a homage to lesbian love based on poems by Pierre Louÿs . But when the National Socialists came to power , their career quickly ended; Mammen withdrew into inner emigration . During the war she continued experimenting without a hitch, and her work after 1945 became increasingly abstract. In addition, she began to combine collage techniques with her drawings in the 1960s. Mammen also worked as a translator. In 1967, for example, her repackaging of Arthur Rimbaud’s Illuminations appeared in the Insel-Bücherei . During this work she was in contact with the French poet and resistance fighter René Char , with whom she became friends through the mediation of her translator colleagues Johannes Hübner and Lothar Klünner .
She is one of those women in art who has been temporarily forgotten. It was not until 1971 that the public discovered it again: exhibitions at Brockstedt in Hamburg and Valentien in Stuttgart were dedicated to it. Her works experienced a kind of renaissance in the 1990s, when museums and galleries devoted numerous exhibitions to her. Since then, it has been widely received in feminist circles.
Jeanne Mammen’s grave is in the columbarium , urn room 45, no. 97 at the Schöneberg III cemetery in Berlin-Friedenau . The grave has been dedicated to the city of Berlin as an honorary grave since November 2018 .
Her older sister Marie Luise Mammen (1888–1956) was also a painter and draftsman and initially shared the studio with her in Berlin.
Biography
German painter and illustrator of the Weimar period whose work is associated with the New Objectivity and Symbolism movements. She is best known for her depictions of strong, sensual women and Berlin city life.
Jeanne Mammen was the daughter of a successful German merchant. She and her family moved to Paris when she was five years old. She studied art in Paris, Brussels and Rome from 1906 to 1911. Her early work, influenced by Symbolism, Art Nouveau, and the Decadent movement, was exhibited in Brussels and Paris in 1912 and 1913.
In 1916 she and her family fled Paris to avoid internment during World War I. While her parents moved to Amsterdam, Mammen chose instead to return to Berlin. In time she was able to find work as a commercial artist, producing fashion plates, movie posters, and caricatures for satirical journals such as Simplicissimus, Ulk, and Jugend.
In the mid-1920s she became known for her illustrations evoking the urban atmosphere of Berlin. Much of her artwork depicted women including haughty socialites, fashionable middle-class shop girls, street singers, and prostitutes. Her drawings were often compared to those of George Grosz and Otto Dix.
In 1921, Mammen moved into an apartment with her sister in Berlin. This apartment was a former photographer’s studio which she lived in until her death.
In 1930 she had a major exhibition in the Fritz Gurlitt gallery. Over the next two years, at Gurlitt’s suggestion, she created one of her most important works: a series of eight lithographs illustrating Les Chansons de Bilitis, a collection of lesbian love poems by Pierre Louÿs.
In 1933, following her inclusion in an exhibition of female artists in Berlin, the Nazi authorities denounced her motifs and subjects as «Jewish», and banned her lithographs for Les Chansons de Bilitis. The Nazis were also opposed to her blatant disregard to for apparent ‘appropriate’ female submissiveness in her expressions of her subjects. Much of her work also includes imagery of lesbians.
In the 1940s, in a show of solidarity, she began experimenting with Cubism and expressionism, a risky move given the Nazis’ condemnation of abstract art as «degenerate». After the war she took to collecting wires, string, and other materials from the streets of bombed-out Berlin to create reliefs.
In the 1970s there was a resurgence of interest in Mammen’s early work as German art historians, as well as art historians of the women’s movement, rediscovered her paintings and illustrations from the Weimar period.
Jeanne Mammen died on 22 April 1976, aged 85.
Exhibitions (selection)
- Jeanne Mammen. 1890-1976. Retrospective. Bonner Kunstverein , from July 15 to August 30, 1981.
- Jeanne Mammen. Die neue Frau , Städtische Galerie Albstadt from March 18 to June 17, 2007.
- 2008: Jeanne Mammen — Just be a pair of eyes. Paula Modersohn-Becker Museum , Bremen .
- Jeanne Mammen, Antje Majewski , Katrin Plavčak , Giovanna Sarti . To Paint is to Love Again. As part of Painting Forever , Deutsche Bank KunstHalle (formerly Deutsche Guggenheim ) from September 18 to November 10, 2013.
- 2015: Exhibition KunstWege — LebensZeichen. in Worpswede .
- 2016: Group exhibition Berlin — City of Women. City Museum Berlin .
- 2017/2018: Jeanne Mammen. The observer. Retrospective 1910–1975 , Berlinische Galerie , Berlin.
- 2020: Jeanne Mammen. Everything in its time . Kunsthaus Stade , Stade , February 15 to May 3.
Biography
Jeanne Mammen
1890 – Berlin – 1976
The daughter of a wealthy businessman, Jeanne Mammen was born in Berlin. In 1895, the Mammen family moved to Paris. She began her artistic training at the age of sixteen at the Académie Julian, a private art school, as a pupil of the school’s ‘atelier des Dames’. In 1908 she enrolled at the Académie Royale des Beaux-Arts in Brussels. Under the influence of Belgian Symbolism she began to engage intensively with themes such as love and death, drawing inspiration from the morbid visions of Félicien Rops and the dark, otherworldly imagery of Fernand Khnopff. She went on to produce a striking series of gouaches that are rich in colour and replete with phantasy. The gouaches mark a first high point in her oeuvre. From 1911-12 she attended classes at the Accademia di Belle Arti in Rome before returning to Paris in 1912.
On her return, Mammen focused her interest on daily life in the capital, chronicling scenes on the boulevards and in the city’s cafes, bars and dance halls. Her repertoire of subjects ranged from images of destitute casual workers and seedy streetwalkers to elegant flaneurs, narcissistic dandies and dancing couples. Never without a sketchbook, she captured her impressions incessantly in pencil and watercolour. Possessing acute powers of observation, she produced spontaneous, rapidly sketched drawings that have the immediacy of snapshots, many of them with caricatural overtones. She was an acute observer of gestures and facial expressions, with a particular eye for fashionably dressed figures. Within just a few years she was to build up a rich reservoir of motifs which served as the basis for the works she produced in the 1920s.
As German citizens, Jeanne and her family were forced to flee Paris when World War I broke out. In 1915, via a somewhat circuitous route, she arrived in Berlin. But the family fortune was lost and she was obliged to support herself earning a living as an artist.
In the mid 1920s, Mammen began to earn broad recognition for her illustrations for the satirical journals Jugend, Simplicissimus, ULK and UHU. As in Paris, she continued to focus chiefly on subjects drawn from her observation of modern city life. She recorded a powerful pictorial cross-section of life in the upper and lower echelons of society. Her portrayal of social conditions in the Weimar Republic was neither romanticized, nor bitingly critical like that of Otto Dix, George Grosz and Rudolf Schlichter. On the contrary, setting out from a distanced, unsentimental form of realism, she developed an objective narrative style which also displayed caricatural elements. In this, her work is comparable to that of Karl Arnold and Dodo, fellow contributors to Simplicissimus and ULK. But Mammen’s particular interest in lesbian life observed in the bars, clubs and cafes of the gay-lesbian milieu is what sets her apart from her colleagues.
When the Nazis seized power in 1933 Mammen’s activity as a magazine contributor came to an abrupt end. Her work was defamed as ‘degenerate’ and banned from publication and exhibition. During the years of National Socialism she was obliged to eke out a living as a casual labourer. But she nevertheless continued to work secretly, albeit in a style redolent of cubo-expressionism. After the war she followed the path to a reduced, almost poetic form of abstraction. Although her creative energy remained unbroken up to the end of her life, she was unable to replicate the earlier successes of the 1920s when she ranked as one of the leading women artists of her time.
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Работа и жизнь
Мемориальная доска в Берлине-Шарлоттенбурге (Курфюрстендамм 29).
Жанна Маммен родилась в Берлине, в семье купца Густава Оскара Маммена. Он вырос в Париже с десятилетнего возраста и начал учиться в 1907 году вместе со своей сестрой в Академии Юлиана . В 1908 году продолжил обучение в Королевской академии изящных искусств в Брюсселе . В 1911 году он уехал учиться в Рим . В 1914 году, когда разразилась Первая мировая война , семья Маммен бежала в Берлин в нищете, так как их имущество было реквизировано французским государством. ]
Начав работу модельером, она получила известность благодаря своим рисункам для журналов Simplicissimus , Ulk и Jugend . Его рисунки изображали уличных парней, которых он рисовал во всех возможных ситуациях. Сделал он это в мультяшном стиле, на что Курт Тухольский прокомментировал ему: « В кулинарии, которую ваши учителя открывают для нас еженедельно или ежемесячно, вы — практически единственное лакомство. »
Его графические работы сравнивают с новой объективностью Отто Дикса или Джорджа Гросса , но в то время как их работы имеют тенденцию к сатире с политической критикой, рисунки и акварели Маммена более чутки. ]
Его первая выставка, которую он провел в галерее Гурлитт в 1930 году, вызвала аплодисменты берлинской арт-сцены. Среди ее самых красивых и высоко оцененных работ — ее литографии , среди них цикл Les Chansons de Bilitis ( «Песни билитис» ), посвященный лесбийской любви, которая появляется в стихах Пьера Луиса . ]
В 1937 году он посетил Международную выставку в Париже , где увидел « Гернику » Пикассо и начал кубистическую сцену. Однако приход нацистов в правительство Германии привело к упадку его карьеры; Маммен отошла от общественной жизни. Во время Второй мировой войны он продолжал экспериментировать, и его работы после 1945 года становились все более абстрактными.
Маммен принадлежал к авангардному кругу галереи Герда Розена в Берлине, где после окончания войны в 1947 году была показана его первая персональная выставка. ]
С 1949 по 1950 год он присоединился к кабаре художников Bathtub, для которого он разработал и изготовил декорации, костюмы и декорации; во время вечера Рембо его новые переводы « Огней» были частью программы. ]
Начиная с 1950-х годов, он добавил к своим рисункам технику коллажа . ]
Обширная персональная выставка, организованная Гансом Брокштедтом в его галерее в Гамбурге , показала записные книжки и акварели, созданные в Париже и Брюсселе до 1915 года, а также акварели и рисунки 1920-х годов в Берлине. Он также выставлялся в Штутгарте, в 1974 году в галерее GA Richter и в 1975 году в галерее Valentien. ]
Могила Мамен находится на кладбище III. Städtischen Friedhof Stubenrauchstraße в Берлине-Фриденау.
В 1976 году друзья художницы основали Общество Жанны Маммен как «некоммерческое общество». Его мастерская в значительной степени сохранилась в первозданном виде как небольшой музей с постоянной экспозицией его работ и как архив для научной работы. В июле 2003 года Фонд Жанны Маммен был основан как независимый фонд в Городском музее Берлина. ]
Statements
instance of
human
1 reference
stated in
BnF authorities
retrieved
10 October 2015
reference URL
sex or gender
female
3 references
stated in
Virtual International Authority File
VIAF ID
retrieved
4 November 2018
stated in
BnF authorities
retrieved
10 October 2015
reference URL
stated in
Museum of Modern Art online collection
Museum of Modern Art artist ID
retrieved
4 December 2019
country of citizenship
Germany
1 reference
stated in
Museum of Modern Art online collection
Museum of Modern Art artist ID
retrieved
4 December 2019
birth name
Gertrud Johanna Mammen (German)
1 reference
stated in
Jeanne Mammen
given name
Jeanne
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family name
Mammen
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date of birth
21 November 1890Gregorian
6 references
retrieved
22 August 2017
reference URL
stated in
RKDartists
reference URL
RKDartists ID
title
Jeanne Mammen (English)
stated in
FemBio database
FemBio ID
subject named as
Jeanne Mammen
retrieved
9 October 2017
stated in
Brockhaus Enzyklopädie
Brockhaus Enzyklopädie online ID
subject named as
Jeanne Mammen
retrieved
9 October 2017
stated in
Artists of the World Online
AKL Online artist ID
subject named as
Jeanne Mammen
stated in
The Fine Art Archive
abART person ID
reference URL
retrieved
1 April 2021
place of birth
Berlin
1 reference
imported from Wikimedia project
German Wikipedia
date of death
22 April 1976
4 references
stated in
RKDartists
retrieved
26 August 2017
reference URL
stated in
FemBio database
FemBio ID
subject named as
Jeanne Mammen
retrieved
9 October 2017
stated in
Brockhaus Enzyklopädie
Brockhaus Enzyklopädie online ID
subject named as
Jeanne Mammen
retrieved
9 October 2017
stated in
The Fine Art Archive
abART person ID
reference URL
retrieved
1 April 2021
place of death
Berlin
1 reference
imported from Wikimedia project
Russian Wikipedia
place of burial
III. Städtischer Friedhof Stubenrauchstraße
burial plot reference
Urnenraum 45, Nr. 97
1 reference
reference URL
languages spoken, written or signed
German
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2 May 2020
reference URL
occupation
painter
2 references
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11 May 2018
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14 May 2019
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illustrator
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inferred from
Category:German illustrators
retrieved
14 June 2019
imported from Wikimedia project
English Wikipedia
stated in
The Fine Art Archive
abART person ID
reference URL
retrieved
1 April 2021
drawer
1 reference
inferred from
Museum of Modern Art online collection
Museum of Modern Art work ID
retrieved
4 December 2019
field of work
art of painting
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imported from Wikimedia project
English Wikipedia
Wikimedia import URL
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portrait
1 reference
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Russian Wikipedia
plaque image
Grabstätte Stubenrauchstraße 43–45 (Fried) Jeanne Mammen.jpg1,238 × 965; 1.57 MB
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Berlin GTafel Mammen.jpg1,590 × 1,110; 169 KB
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Art+Feminism
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Wiki Loves Pride Art & Artists
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WikiProject PCC Wikidata Pilot/Frick Art Reference Library
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copyright representative
reproduction right represented by CISAC-member
2 references
ADAGP artist ID
retrieved
19 October 2019
subject named as
Johanna Mammen (1977)
stated in
ADAGP directory
stated in
DACS register
retrieved
19 October 2019
DACS ID (former)
has works in the collection
Museum of Modern Art
1 reference
inferred from
Museum of Modern Art online collection
Museum of Modern Art work ID
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4 December 2019
reference URL
Berlinische Galerie
1 reference
retrieved
28 February 2021
inferred from
Q47518982
Neue Nationalgalerie
1 reference
inferred from
Q107450113
retrieved
5 May 2022
copyright status as a creator
works protected by copyrights
applies to jurisdiction
countries with longer than 50 years pma
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28 March 2020
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Commons category
Jeanne Mammen
0 references
Career
Her work is associated with the New Objectivity and Symbolism movements. She is best known for her depictions of strong, sensual women and Berlin city life. Her early work, influenced by Symbolism, Art Nouveau, and the Decadent movement, was exhibited in Brussels and Paris in 1912 and 1913.In 1916 she and her family fled Paris to avoid internment.She was now financially on her own for the first time, as the French government had confiscated all of her family»s property. Foreign several years Mammen struggled to make ends meet, taking any work she could find, and spending time with people from different class backgrounds.These experiences and newfound sympathies are reflected in her artwork from the period. In time she was able to find work as a commercial artist, producing fashion plates, movie posters, and caricatures for satirical journals such as Simplicissimus, Ulk, and Jugend.In the mid-1920s she became known for her illustrations evoking the urban atmosphere of Berlin.Her drawings were often compared to those of George Grosz and Otto Dix. Throughout the late 1920s and early 1930s she worked mainly in pencil with watercolor washes, and in pen and ink. In 1930 she had a major exhibition in the Fritz Gurlitt gallery.Over the next two years, at Gurlitt»s suggestion, she created one of her most important works: a series of eight lithographs illustrating Les Chansons de Bilitis, a collection of lesbian love poems by Pierre LouÿsonApparently her portrayals of women were disturbing to the Nazis. In 1933, following her inclusion in an exhibition of female artists in Berlin, the authorities denounced her motifs and subjects as «Jewish», and banned her lithographs for Les Chansons de Bilitis.The Nazis shut down most of the journals she had worked for, and she refused to work for those that complied with their cultural policies. Until the end of the war she practiced a kind of «inner emigration».She stopped exhibiting her work and focused on advertising.Foreign a time she also peddled second-hand books from a handcart. In the 1940s she began experimenting with Cubism, a risky move given the Nazis» condemnation of abstract art as «degenerate». After the war she took to collecting wires, string, and other materials from the streets of bombed-out Berlin to create reliefs.In the late 1940s she began exhibiting her work again, as well as designing sets for the Die Badewanne cabaret.She created abstract collages from various materials, including candy wrappers. In the 1950s she adopted a new style, combining thick layers of oil paint with a few fine marks on the surface.In the 1970s there was a resurgence of interest in Mammen»s early work as German art historians, as well as art historians of the women»s movement, rediscovered her paintings and illustrations from the Weimar period. In 2013 her later, more abstract work was featured in «Painting Forever!», a large-scale exhibition held during Berlin Art Week.
Individual evidence
- Rainer Stamm: We want to surpass the futurists . FAZ feature section, March 8, 2016
- s. ‘Jörn Merkert (Ed.) Jeanne Mammen 1890-1976. Monograph and catalog raisonné, Wienand Verlag Cologne 1997, ISBN 3-87909-469-1 , p. 434. 310.
- Arthur Rimbaud: Illuminations. French and German. Translated from the French by Jeanne Mammen. In: Insel-Bücherei . No.894 . Insel, Frankfurt am Main 1967.
- Johann Thun: «Tu as bien fait de partir» Jeanne Mammen, Rene Char and Arthur Rimbaud . In: Friends of the Jeanne Mammen Foundation e. V., Berlin (ed.): Jeanne Mammen Paris — Bruxelles — Berlin . 1st edition. Deutscher Kunstverlag, Berlin 2016, ISBN 978-3-422-07375-3 , pp.158-178 .
- Catalog (109 pages) with contributions by Margarethe Jochimsen , Dorothea von Stetten , Hildegard Reinhard, Eberhard Roters and Lothar Klünner.
- . March 17 to August 28, 2016
- October 14, 2017.
- Lacony of the big city. In: Frankfurter Allgemeine Sonntagszeitung from October 15, 2017, page 46.
| personal data | |
|---|---|
| SURNAME | Moms, Jeanne |
| BRIEF DESCRIPTION | German painter, draftsman and translator |
| DATE OF BIRTH | November 21, 1890 |
| PLACE OF BIRTH | Berlin |
| DATE OF DEATH | April 22, 1976 |
| Place of death | Berlin |