22. October 2020 - 28. March 2021

elective affinities

rendezvous with women photographers 1900-1935

Elective relationships are fostered by an affinity of mind and soul, an unspoken magnetism between individuals who do not know each other well, and they occur again and again when portraits are taken. The friction sparked when the unfamiliar comes close, when detachment fuses with attraction, profoundly affects the interaction between the photographer and her sitter, and ultimately the expressive power of the portrait.

With an approach to portrait photography much influenced by Expressionist painting, Frieda G. Riess leads a generation of women photographers born around 1900 represented in the exhibition by, among others, Eva Besnyö, Steffi Brandl, Marianne Breslauer, Suse Byk, Florence Henri, Aura Hertwig, Lotte Jacobi, Jeanne Mandello, Lucia Moholy,  Thea Sternheim and Yva.

It was a unique opportunity for Riess when, in 1925, a show at Alfred Flechtheim’s gallery in Berlin introduced her portraits of Lil Dagover, Asta Nielsen, Marc Chagall, Klaus Mann, Renée Sintenis and many others to a commanding clientele. Thea Sternheim for one, as an amateur photographer more of an outsider to the trade, called her the best portrait photographer in Berlin, and in return Riess dubbed her an “oracle in matters of photography”. Sternheim’s portraits include such candid shots as the one of the Franco-German pacifist writer Annette Kolb.

“My style is the style of the people I photograph,” was Lotte Jacobi’s motto for her work with portraits, and the diversity of her personalised compositions proves her point. She was aided by new camera technology in the 1920s, her 9 x 12 cm Ermanox with the then fastest lens 1:1,8, which allowed her to meet up with her protagonists wherever they wished – at home, behind the wings, in the open air. Her portraits of well-known figures – among the many Lotte Lenya, Erika and Klaus Mann, Albert Einstein – were appreciated by the press and remain engraved even today in the public visual memory.

Yva, who opened her first studio in 1925, also took portraits for the illustrated press before moving on to specialise in fashion photography. In the 1920s demand rocketed for pictures of celebrities, of the rich and beautiful in their private settings, and this heralded a new era in the significance of the visual. Yva’s most delightful portraits include several of the dancer Tatjana Barbakoff, but also the back of film star Asta Nielsen.

Translation Katherine Vanovitch

 

 

preview 2020-2021

Preview  

Mittwoch, 21. October | 17 - 19 Uhr

The hygiene and distance rules apply, so we ask you to wear the prescribed mouth and nose protection during your stay in the museum rooms. Please understand that only a limited number of a maximum of 10 visitors can enter at the same time.The museum is obliged to provide documentation.

COVID-19

Due to the current pandemic situation and as a result of the decisions of the federal government and the Berlin state government to contain COVID-19, DAS VERBORGENE MUSEUM will remain closed
until January 14, 2021

Duration

22. October 2020 - 28. March 2021

opening hours

Friday 15 - 19 Uhr
Saturday, Sunday 12 - 16 Uhr

The Museum is only open during the exhibition period !!

location > address

DAS VERBORGENE MUSEUM
Schlüterstrasse 70
10625 Berlin-Charlottenburg

phone

+49 (0) 30 313 36 56

 

Flyer | to the Exhibition

Publikationen in der Ausstellung erhältlich.
Frieda Riess, Thea Sternheim, Lotte Jacobi, Eva Besnyö u.a.

 

traffic connection

S-Bahn Savignyplatz
U-Bahn Ernst-Reuter-Platz
Bus M49, X34, 10

citymap

please refer Contact

mail adresse

 

Ausstellung im Rahmen
9. Europäischer Monat der Fotografie

EMOP Berlin 2020




22. April 2021 - 29. August 2021

MATHILDE TARDIF 1872 – 1929

A Panopticon of Society Around 1900

This show devoted to Mathilde Tardif (1872-1929), who was born in Marseille and died in Germany, is the first-ever public encounter with her art in a solo exhibition. Some 70 paintings from private estates, all dating from the period between 1897 and 1929, provide new insights into the work of an artist trained in the 1890s at the Académie Julian in Paris.

At the Académie, Mathilde Tardif was influenced by Les Nabis, a group of rebellious young art students led by Maurice Denis, but she evolved her own themes and style. She found material for her critical observations of society in the everyday milieu of the middle classes and the petty bourgeoisie, and drew inspiration for her technique from both Symbolism and Art Nouveau.

This was the era of the Third French Republic (1870-1940) in Paris, the proverbial capital of art and since the middle of the century, the Impressionists had secured a place in art for everyday motifs, and like Mathilde Tardif, Thèophile-Alexandre Steinlen (1859-1923) portrayed the lives of simple people, while Henri Toulouse-Lautrec (1864-1901) depicted the shady side of night life in the entertainment business.

Tardif had a preference for genre scenes, and these tend to be melancholy rather than cheerful. The intimacy of the small format requires particular concentration when contemplating the dire poverty, death and morbid premonitions that mark the figures, or the scenes reflecting sexual services performed for money. Recurring subjects are hypocritical Catholic and Protestant clergymen, prostitutes with their clients, and the elegant demi-monde of the night clubs. Her visual repertoire features social outsiders, beggars, the homeless, destitute families with numerous children, and caricatures such as the ageing dandy. But there are modest everyday pleasures too, such as the tingling excitement of watching circus performers.

Around 1900 Mathilde Tardif arrived in Wilhelminian Berlin, where
women artists were lampooned in unflattering terms and were still denied academic training. She managed, however, to show with the Berlin Secession, the forum for modern art. Works displayed there between 1901 and 1906 included “The Dead Mother” (1902), “Wedding” (1903) and “Homeless” (1903), seen here in public for the first time since.
 
In 1907 Mathilde Tardif married the portrait painter Leo Freiherr von König (1871-1944) in Berlin. From 1894 to 1897 he had also attended the Académie Julian, where they had met during her student days.

In Berlin they enjoyed an active social life, regularly meeting up with people such as the art essayist and critic Julius Meier-Graefe and his wife Anna, Gerhart Hauptmann, the art sponsor Ida Dehmel, and the artist Dora Hitz. In 1908 they joined the Meier-Graefes on a lengthy strip around Spain.

Some time after her divorce from Leo von König in 1920, Mathilde Tardif returned to France with her daughter Yvonne (1892-1957) and her son-in-law, the painter Walter Becker (1893-1984). In 1929 she ended her own life in Woltersdorf, Brandenburg.

Mathilde Tardif’s works on paper and board apply a mixed technique consisting primarily of watercolour combined with tempera and pencil, sometimes with further additions of chalk pastels and opaque white. They are approximately 25 x 17 cm in size. Photographs and documents complement this fragmentary picture of the artist, mother and wife Mathilde Tardif. 

 

Biography

PREVIEW 2020-2021

Opening 

Mittwoch, 21. April 2021 | 19 Uhr

Speakers

Elisabeth Moortgat
DAS VERBORGENE MUSEUM

Andreas Hoelscher
Nachlassverwalter

Dr. Ingrid von der Dollen
Kunsthistorikerin und Autorin der Publikation zu Mathilde Tardif

NEW Duration

22.April  - 29. August 2021

opening hours

Thursday, Friday 15 - 19 Uhr
Saturday, Sunday 12 - 16 Uhr

The Museum is only open during the exhibition period !!

location > address

DAS VERBORGENE MUSEUM
Schlüterstrasse 70
10625 Berlin-Charlottenburg

phone

+49 (0) 30 313 36 56

 

 

Flyer | to the Exhibition

 

The Exhibition book
Ingrid von der Dollen
 “Die Malerin MATHILDE TARDIF 1872-1929 – Panoptikum der Gesellschaft um 1900”
128 pp., Edition Joseph Hierling, Tutzing 2020, € 19,00.

MAIL ADDRESS 
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traffic connection 
S-Bahn Savignyplatz
U-Bahn Ernst-Reuter-Platz
Bus M49, X34, 101

citymap 
please refer Contact