Henriette Mankiewicz

from Wikipedia, the free encyclopedia
Illustration from Die Graphischen Künste , 1899
Henriette Mankiewicz: Rosenzweige , watercolor, 1899

Henriette Mankiewicz (born July 20, 1852 in Vienna as Henriette Tauber ; † June 30, 1906 in Bad Vöslau ) was an Austrian embroiderer .

Life

Henriette Mankiewicz was born in Vienna as the daughter of the stock exchange trader and writer Joseph Samuel Tauber (1824–1879) and his wife Louise, née Edle von Hönigsberg (1824–1894). Her great-grandfather Israel Hönig von Hönigsberg was a tobacco dealer and was the first Jew to be ennobled in Austria. The father's family was also of Jewish faith. In 1872 she married the widowed Carl Mankiewicz (1834-1896) in Vienna. He worked as Serbian consul general in Dresden , where the couple lived after the wedding. Her husband was buried in the New Israelite Cemetery in Dresden in 1896 . She moved back to Vienna after his death and later converted to Catholicism. From his marriage to Carl Mankiewicz, the only child was their daughter Margarethe (1881–1938). She worked as a writer and translator and married the first lieutenant and Serbian consul general Ernst von Schuch. Margarethe von Schuch-Mankiewicz had also left Judaism in 1897 and lived in Rome from 1931.

Henriette Mankiewicz grew up in a family that was open to art. Her desire to study painting was denied because women were not allowed to study at institutions during this time. Therefore, she received private lessons a. a. with Hans Makart , who in turn drew and painted them several times. Influenced by Markart's taste for the richest, refined luxury, she specialized in embroidered works of art from 1888 onwards.

She made effective and decorative panneaus, mostly with flowers and landscapes. Her work - often referred to as needle painting - was often a combination of different techniques - embroidery, painting and sewing in silk. Her work has been shown in numerous German cities. At the Paris World Exhibition in 1889 , her work was on display in the Austrian department, where it received great acclaim. As a result, she was honored with a medal by the jury of the world exhibition and, at the suggestion of the painters Ernest Meissonier , Léon Bonnat and Émile Auguste Carolus-Duran, was awarded the title of Officier de l'Academie . She received other medals in Prague and the Netherlands. In 1894 she successfully exhibited her so-called giant pictures in Berlin. It is possible that on this occasion she met the director of the Berlin National Gallery, Hugo von Tschudi . In 1898 she donated the painting Houses at Argenteuil by Claude Monet to the National Gallery .

Even during her time in Dresden, Henriette ran a literary salon that was known far beyond the city limits. She was friends with the composer Gustav Mahler .

literature

  • Adolph Kohut , Famous Israel. Manner u. Women, 1900/01, II 417.
  • HC Kosel, German-Austrian Artists, etc. Lex., II (1906) 44.
  • Kunstchronik, NF II (1891) 205f .; XVII 491.
  • The graph. Arts, XXII (1899) 104/06, m. Taf.
  • Art u. Kunsthandwerk, VI (1903) 508/12, with 6 ills.
  • Gazette des Beaux-Arts, 1897, I 344 f.
  • Helmut Brenner / Reinhold Kubik : Mahler's people. Friends and companions. Sankt Pölten - Salzburg - Vienna 2014. pp. 153–157. ISBN 978-3-7017-3322-4
  • Johanna Heinen: A "Jewish" Patronage for Modern French Art? The case study of the National Gallery in Berlin during the Wilhelmine era (1882-1911): a cultural and socio-historical study . Peter Lang Edition, Frankfurt am Main 2016, ISBN 978-3-631-64864-3 .

Individual evidence

  1. ↑ Illustration to the article by Julius Lessing "Die Bildstickereien der Frau Henriette Mankiewicz" in Die Graphischen Künste ; Society for Reproductive Art Vienna, 1899, page 104ff.
  2. ^ A b Johanna Heinen: A "Jewish" patronage for modern French art? The case study of the Nationalgalerie in Berlin during the Wilhelmine era (1882-1911): a cultural and socio-historical study , p. 213.
  3. ↑ The date of conversion to the Catholic faith is not known. However, she was buried as a Catholic, see Johanna Heinen: A "Jewish" patronage for modern French art? The case study of the Nationalgalerie in Berlin during the Wilhelmine era (1882-1911): a cultural and socio-historical study , p. 214.
  4. ↑ Helmut Brenner / Reinhold Kubik : Mahler's people. Friends and companions. St. Pölten - Salzburg - Vienna 2014, p. 153, ISBN 978-3-7017-3322-4
  5. ↑ a b c d Johanna Heinen: A "Jewish" patronage for modern French art? The case study of the Nationalgalerie in Berlin during the Wilhelmine era (1882-1911): a cultural and socio-historical study , p. 214.
  6. ↑ Helmut Brenner / Reinhold Kubik : Mahler's people. Friends and companions. St. Pölten - Salzburg - Vienna 2014, p. 154, ISBN 978-3-7017-3322-4
  7. ↑ Thieme-Becker
  8. ↑ Clara Erskine Clement Waters; Women in the Fine Arts, from the Seventh Century BC to the Twentieth Century AD (Google eBook) Library of Alexandria, 1984
  9. ↑ In the literature it is often stated that the founder of the picture is the wife of Paul Mankiewitz , but the spelling of the surname is different and his wife was called Hanna (called Anna), nee Tarlau. The wrong assignment can be found, for example, in Anna-Dorothea Ludewig: Aufbruch in die Moderne, Sammer, Patrons and Art Dealers in Berlin 1880-1933 , p. 225. In fact, the foundation comes from the Viennese art embroiderer Henriette Mankiewicz, see Johanna Heinen: Ein " Jewish "patronage for modern French art? The case study of the Nationalgalerie in Berlin during the Wilhelmine era (1882-1911): a cultural and socio-historical study , p. 211.
  10. ^ Johanna Heinen: A "Jewish" patronage for modern French art? The case study of the National Gallery in Berlin during the Wilhelmine era (1882-1911): a cultural and socio-historical study , p. 216.
  11. ↑ Letters, 1879–1911; Gustav Mahler, Alma Mahler; Georg Olms Verlag, 1925.

Web links

Commons : Henriette Mankiewicz  - collection of images, videos and audio files
personal data
SURNAME Mankiewicz, Henriette
ALTERNATIVE NAMES Tauber, Henriette (maiden name)
BRIEF DESCRIPTION Austrian embroiderer
DATE OF BIRTH July 20, 1852
PLACE OF BIRTH Vienna
DATE OF DEATH June 30, 1906
Place of death Bad Vöslau

  1. ^ A b Johanna Heinen: A "Jewish" patronage for modern French art? The case study of the Nationalgalerie in Berlin during the Wilhelmine era (1882-1911): a cultural and socio-historical study , p. 214.