Lotte Laserstein. Face to Face
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She is usually categorised as an artist of Neue Sachlichkeit New Objectivity , alongside her male contemporaries Otto Dix, George Grosz and Christian Schad, but her style is really quite different from theirs — devoid of political satire and containing far more empathy, intimacy, and, dare I say it at the risk of sounding disingenuous, femininity. Girl Lying on Blue, c1931. These images found their expression in athletic and fashion-conscious women in control, who reflected the type of the New Woman.
Additionally, while the painting itself is oil on board, in the picture, Laserstein is painting on canvas. This is, in fact, an impossible composition, since, from the position in which Laserstein is standing, Traute would have had to appear in reverse. Dafür bekommst du jede Menge Spaß und lernst 12 neue Leute kennen. Fortunately, there was enough family money for both daughters to study and Laserstein was one of the first generation of women accepted into the Berlin Art Academy, in 1921 — two large charcoal drawings of male nudes evidence that she also attended life classes while there.
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An appropriate title for an exhibition so largely comprised of portraits — among them a large proportion of self-portraits. For, surrounded by these canvases of Lotte Laserstein 1898-1993one feels beset by myriad pairs of eyes. She is usually categorised as an artist of Neue Sachlichkeit New Objectivityalongside her male contemporaries Otto Dix, George Grosz and Christian Schad, but her style is really quite different from theirs — devoid of political satire and containing far more empathy, intimacy, and, dare I say it at the risk of sounding disingenuous, femininity. Wanda von Debschitz-Kunowski, Untitled Lotte Laserstein in front of her painting Evening over Potsdamundated. Berlinische Galerie — Landesmuseum für Moderne Kunst, Fotografie und Architektur. Laserstein grew up in a very female environment, with her mother, her sister, Käte, and her aunt and grandmother, following the death of her father in 1902. Fortunately, there was enough family money for both daughters to study and Laserstein was one of the first generation of women accepted into the Berlin Art Academy, in 1921 — two large charcoal drawings of male nudes evidence that she also attended life classes while there. One hypothesis put forward by the exhibition texts is that, belonging face to face frankfurt this first generation of educated female artists, she lacked the rebellious streak of many of her male contemporaries, wishing instead to prove her technical ability. Girl Lying on Blue, c1931. Oil on paper, 69 × 93 cm. Private collection, Courtesy Das Verborgene Museum, Berlin. Photo: Das Verborgene Museum, Berlin. There has been repeated speculation over a lesbian relationship between the two women, but this seems, on the whole, to be unfounded — as well as somewhat irrelevant and an example of our contemporary classifications muddying those of the past. Traute in a Green Pullover, c1931. Oil on paper, 76 × 54 cm. As well as paintings of Traute, there are, as mentioned, a great number of self-portraits on display, as well as paintings in which Laserstein appears in the background, frequently wearing her painting shirt, as a kind of attribute. For example, In meinem Atelier In my Studio 1928 depicts Traute in a classical reclining Venus pose, set against the snowy rooftops of Wilmersdorf, Berlin. Between the foreground and background, the artist is present, standing — and working — at her easel. This is, in fact, an impossible composition, since, from the position in which Laserstein is standing, Traute would have had to appear in reverse. Additionally, while the painting itself is oil on board, in the picture, Laserstein is painting on canvas. Still, who is to deny a little artistic licence. Oil on panel, 46 × 73 cm. This mirroring is, in fact, something Laserstein plays with in a number of her works, including also a later self-portrait in which she stands — somewhat poignantly, as will soon become clear — before her masterpiece Abend über Potsdam Evening over Potsdam 1930. Laserstein worked mainly with four basic sets of green-brown colours, and painted alla prima, largely with just one layer. Nevertheless, she was able to successfully create a convincing illusion of different materials, including, for example, leather and metal in Der Motorradfahrer The Motorcyclist 1929. Boy with Kasper Puppet Wolfgang Karger1933. Oil on panel, 46 x 38 cm. Städel Museum, Frankfurt am Main. Photo: Städel Museum — Artothek. The hypnotic Russisches Mädchen mit Puderdose Russian Girl with Compact 1928with its luxuriously rich crimson red, was one of the 25 finalists in a competition run by the cosmetics company Elida to find the most beautiful portrait of a woman in 1928. In fact, she found many models among Russian exiles, following the 1917 revolution. This work and the later Junge mit Kasper-Puppe Wolfgang Karger Boy with Kasper Puppet Wolfgang Karger 1933 were both recently acquired by the Städel Museum, and it was around these that this long overdue exhibition was conceived. This is the first time in Germany — outside Berlin — that Laserstein has been recognised with a proper retrospective. This comes as little surprise, however, given that she emigrated to Sweden in 1937, having been forbidden to work or exhibit in her own country, following the introduction of the Nuremberg race laws in 1935. Six months later, she married a Swede, so as to obtain citizenship, and she never returned to Berlin. Oil on canvas, 110 × 95. This exhibition comprises 40 paintings and drawings, primarily from the Weimar period of the late-20s and early 30s. Accordingly — and, I believe, rightly — the curators have chosen to largely overlook these later works, excepting a few self-portraits, painted purely for herself, and thus enabling some element of continued experimentation. Oil on panel, 111 x 205. Nationalgalerie — Staatliche Museen zu Berlin. The five friends painted after real-life friends of the artist, with Traute on the left-hand side — although the woman on the right, less of a patient model, actually has the face to face frankfurt of Traute beneath her own head and torso, and the dog, the least patient model of them all, was largely painted from a face to face frankfurt Laserstein had in her studio seem no longer to know what to say to one another. The artist is one of the very best of the young generation of painters, her glittering path to success will be one to follow. With this presentation of highlights from her peak, there is hope that she might yet not be forgotten. Die Künstlerin gehört zu den allerbesten der jungen Malergeneration, ihr glanzvoller Aufstieg wird zu verfolgen bleiben!.
A Familiar Face and a Fresh Start - Eintracht Frankfurt - Behind The Scenes
They predicted a rise in demand for the filter coffee and together with Esther Gossmann, Natalia Konstantinova and Yulia Yanyuk opened this typical sit-in café and a retail store in October 2015. Anmeldung als 2er Team möglich Face-to-Face-Dating Frankfurt am Main — per Video erklärt In welchen Bars findet F2F-Dating in Frankfurt statt Da bis zu 200 Personen pro Event in Frankfurt teilnehmen, sind wir am Eventtag auf mehrere Stadtteile verteilt. A note about our privacy policies and terms of service: We have updated our privacy policies and certain website terms of service to provide greater transparency, promote simplification, and align with recent changes in privacy laws applicable to us. She became known during the Weimar era. Mathias Stalter used to work as a professional photographer for many years and was known as the guy with the best coffee in his atelier. An appropriate title for an exhibition so largely comprised of portraits — among them a large proportion of self-portraits. He became a coffee consultant and a caterer, supplying events with his mobile coffee bar, brewing with a La Marzocco Linea and a Mahlkönig K30. There is a lot to discover in Frankfurt!
