Women's academies in Munich and Berlin and the Karlsruhe school of female painters

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As ladies Academy Painting and Drawing Schools for women were called. Up until the 20th century, women found it difficult to take up an artistic profession. They were usually denied access to the academies. While in Russia women were able to study at the academies from 1871, in Germany this was only possible on a larger scale in the Weimar Republic . Apart from the private studios of individual artists, they only had three larger educational establishments with a limited range of courses at their disposal: the women 's academies in Munich and Berlin , which were founded through self-help , and the painting school in Karlsruhe .

history

The art academy in Germany, which was usually on an equal footing with the universities and mostly later renamed the “Academy of Fine Arts”, filled a large gap in the artistic education system. However, this was only important for male interested parties: women were denied entry into the 20th century. They lacked a facility comparable to the academy.

Although there was hesitant approval for women beforehand, this was associated with restrictions and special provisions: For example, women were not allowed to participate in nude drawing and anatomy courses. For many artistically ambitious women, the solution was expensive private schools. While men could receive academic tuition even without a financial background, the training of women was dependent on not inconsiderable financial resources from the start. The selection was therefore not based on talent, but on solvency, which only damaged the reputation of the talented women even more. There was no shortage of women interested in art, and private schools proved to be a lucrative business.

In the wake of the numerous founding of women’s associations in the 19th century, triggered by the women's movement , numerous women artists joined forces to improve the educational situation in the field of art . On their own initiative, the artists 'associations founded so-called “women's academies” or “painters' schools”, which enabled women to study art which was similar to that at the art academy. The trainings of the “Ladies Academy in Berlin” and the “Ladies Academy in Munich” should be mentioned explicitly here. Only with the legal equality of men and women in 1919 were women admitted to the academies. The Karlsruhe School of Painters was an exception. This was a private art school run by the state.

In addition to the female artists' associations in Berlin and Munich , similar associations were founded in other German cities: Württembergischer Malerinnenverein in Stuttgart (1893), in Leipzig (1897) founded by Philippine Wolff-Arndt (1849–1933), in Düsseldorf (1911), the GEDOK in Hamburg (1926) and in Cologne (1929).

Ladies Academy Berlin

The admission of women to the institutions of academic art education was an important step in emancipation . While “Elevinnen” have been able to study at the “Royal Academic University for Performing Music” since it was founded by Joseph Joachim in 1869, women were excluded from the University of Fine Arts until the November Revolution of 1918, i.e. until the end of the German Empire . Women who wanted to train as painters or sculptors had to switch to private schools.

The " Association of Berlin Artists and Art Friends " founded its own art school in 1868, which later also included a "drawing and painting school" with an attached "drawing teacher seminar", at which Käthe Kollwitz worked as a teacher and Paula Modersohn-Becker with Jeanna Bauck studied. For the artists who founded the association in 1867, it was primarily about “promoting and supporting all female artists belonging to the association. This also included the establishment of various teaching matters both for the artists' own further training and for the efficient training of art-loving students. ”In 1879, a pension fund was set up to provide women artists with a pension. The exclusion of women from the art academy in Berlin was highly controversial in the first decade of the 20th century. The University of Fine Arts under its director Anton von Werner came under considerable pressure; the demand for admission to study for women was loudly raised. In 1904 a group of "ladies", including Käthe Kollwitz, Sabine Lepsius and Julie Wolfthorn , sent a petition to the "Academy Director". These and other submissions, which found support in the Prussian House of Representatives and in the press, forced the university to comment on the question of women's studies. The position of the teachers and the male students, however, remained immobile. It was not until the spring of 1919 that the first women began their studies.

Ladies Academy Munich

From 1852 to 1920 no women were admitted to study at the Academy of Fine Arts in Munich . Around 1900 Munich was both a city of art and a center of the women's movement. In addition to the goal of helping women to achieve civil and social rights, one of the central goals was to improve educational opportunities. Among other things, access to the universities was required, which was finally possible in the Kingdom of Bavaria from 1903. However, women with the desire to become artists fought in vain for access to the Royal Academy of Fine Arts, which was only granted to them from 1919. Zofia Stryjeńska tried to circumvent this ban and in 1911 she enrolled under her brother's name. Disguised as a man, she studied for a year before the deception was discovered and she had to leave the academy. Up-and-coming female artists could only receive artistic training at expensive private schools or the newly established training centers such as the “Ladies Academy”. The Royal School of Applied Arts in Munich , founded in 1868 , was already granting women training in at least their “female department” in 1872, with the study of drawing teachers.

Adolf Höfer (1869–1927), the painter and his students at the “Ladies' Academy” in Munich, around 1910

In order to enable women to receive professional artistic training, the women themselves took the initiative in 1882 when they founded the Munich female artists' association . According to the principle of collective self-help , women artists came together who had all experienced the inadequate educational situation for women, especially in the field of high art. Among the founding members were Jeanna Bauck (1840–1926) Bertha von Tarnóczy (1846–1936), Clementine von Braunmühl (1833–1918), Sophie Dahn-Fries (1835–1898), Ilka von Fabrice (1846–1907), Olga Weiß (1835–1898) and Martha Giese (1860–1923). Two years later in 1884 they opened the Munich "Ladies Academy", which was organized on the model of the Royal Academy of Fine Arts. The house at Barer Straße 21 had five large studio windows on the garden side, and training in figure and life drawing, lessons in perspective, painting technique, art history, anatomy, as well as several electives such as head drawing, composition theory, still life and animal painting were offered. In addition, the “Ladies Academy” worked with the landscape class in Seebruck am Chiemsee in the summer . The students were taught by professors from the Munich Academy, among others, which earned the “Ladies Academy” a good reputation. The school has been subsidized by the state since 1894, which resulted in an expansion of the school and the range of courses on offer.

The “Ladies Academy” was soon widely known and attracted numerous young women from home and abroad who wanted to be trained as an artist. In 1906 the school was attended by 427 pupils from “all over the world”. In addition to Gabriele Münter and Maria Marc , Käthe Kollwitz, for example, also registered here . The pupils of the “School of Artists” were taught by Munich artists who also taught at the art academy or privately. For example Angelo Jank , Ludwig Herterich , Tina Blau , Maximilian Dasio , Max Feldbauer , Friedrich Fehr , Ludwig Herterich, Adolf Höfer , Angelo Jank, Georg Jauss , Lothar von Kunowski , Christian Landenberger , Franz Marc , Walter Püttner , Ludwig Schmid taught here. Reutte , Albert Weisgerber and Marie Schnür , Johanna Tecklenborg , who was temporarily in charge of the club, and Heinrich Waderé .

In 1902 the “Teaching and Experimental Ateliers for Applied and Free Art”, or “ Debschitz School ” for short, was founded in Munich . Women were allowed to visit this reform-oriented institution from the start and the attendance was correspondingly high. From 1905, women were finally able to attend the “ Photography Training and Research Institute ” and quickly achieved success with their work.

With the opening of the academy for women in 1920, the “ladies academy” was finally dissolved.

Painting school in Karlsruhe

Karlsruhe had become a magnet for artists, especially since the founding of the State Academy of Fine Arts Karlsruhe in 1854 by Grand Duke Friedrich I , and developed into an aspiring art city. Judging by the reports in the regional newspapers, women interested in art were able to take lessons in private painting schools, which prompted numerous women to come to Karlsruhe for art. The demand for professional training was enormous and teachers at the academy no longer accepted private students , so that in 1885 the association of private ladies' classes founded a private art school especially for women , the " Grand Ducal Painting School in Karlsruhe ", which was run as a private institution that both subsidized by both the city and the state. On October 1st, 1885, the school for women painters was opened under the patronage of Luise von Prussia . The school existed until 1923.

Grand Ducal Saxon Art School Weimar

At the art school in Weimar , the painter and director Hans Olde obtained admission for women to study in 1902. However, they were not granted the academic qualification.

See also

literature

  • Yvette Deseyve: The Munich Association of Women Artists and its Ladies Academy. A study on the educational situation of women artists in the late 19th and early 20th centuries (= art studies. Vol. 12). Herbert Utz Verlag, Munich 2005, ISBN 3-8316-0479-7 (at the same time: Munich, Univ., Master's thesis, 2002/03), with a list of all full members, students and subjects taught in the years 1882–1920.
  • Anne-Kathrin Herber: Women at German Art Academies in the 20th Century. Training opportunities for female artists from 1919 with special consideration of the South German art academies , (dissertation) Heidelberg, 2009.
  • Carola Muysers: The visual artist. Evaluation and change in German source texts, 1855-1945 , Dresden 1999.
  • Brigitte Kerchner: Profession and Gender: Women's Professional Associations in Germany 1848–1908 , Vandenhoeck & Ruprecht, Göttingen, 1992, ISBN 3-525-35760-5 , p. 310.
  • Antonia Voit: Off to Munich - Women Artists around 1900 , Süddeutsche Zeitung Edition, 2014, ISBN 3-86497-193-4 .

Web links

Individual evidence

  1. ↑ Philippine Wolff-Arndt, co-founder of the Artists' Association and the Association for Women's Suffrage in Leipzig ( Memento of the original from March 13, 2016 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.leipzig.de
  2. ^ Association of Düsseldorf artists , accessed on July 25, 2015
  3. ↑ GEDOK
  4. ↑ GEDOK Cologne ( Memento of the original from September 1, 2015 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. , accessed July 25, 2015  @1@ 2Template: Webachiv / IABot / www.gedok-koeln.de
  5. ↑ For further female artist associations cf. Matz 2001
  6. ↑ Berger 1982, p. 92. On the history of the association
  7. ↑ Image in the women's academy at Barerstraße 21, created in 1907 , on SZ.de.
  8. ^ Chronicle of the Academy of Fine Arts Munich: 1884 Ladies Academy , on adbk.de
  9. ↑ Quoted from Schack-Simitzis 1988, p. 323
  10. ↑ Norbert Götz, Clementine Schack-Simitzis: Artists - Die Prinzregentenzeit, AK Munich, 1988, p. 323
  11. ↑ “IX. Annual report “of the school of female painters 1893/94
  12. ↑ Luise von Prussia , on ka.stadtwiki.net
  13. ↑ Großherzoglich Sächsische Hochschule für bildende Kunst Weimar, in 1. Institutional history: “Of course, the teaching staff of the school agreed that women could never play a role in great art, but women should be all the more happy for the arts and crafts be predisposed. (...). They were denied the recognized professional qualification. That is why a study period of 6 years was set, after which the training was considered completed. ” On the Thuringia archive portal