Maina-Miriam Munsky

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Maina-Miriam Munsky 1971. Photo: Peter Ruppenthal
Maina-Miriam Munsky, Procedure IV (Surgeons), 1973
Maina-Miriam Munsky, Never Alone Again, 1976
Feminist Art International exhibition , Haags Gemeentemuseum, 1979. The photo shows Munsky's painting Emancipation from 1970
Maina-Miriam Munsky, Selbst, 1978
Maina-Miriam Munsky, Bein I, 1974
Maina-Miriam Munsky, Bein II, 1978
Maina-Miriam Munsky, Das Rote Tuch I, 1976
Maina-Miriam Munsky, Manipulation, 1981
Maina-Miriam Munsky, Hamburg-Atelier Duwe , 1990
Grave of Maina-Miriam Munsky and Peter Sorge , Alter St.-Matthäus-Kirchhof Berlin

Maina-Miriam Munsky (born September 24, 1943 in Wolfenbüttel as Meina Munsky; † October 26, 1999 in Berlin ) was a German painter of New Realism who lived in West Berlin in the 1970s with her large-format paintings of births, abortions and Operations became known.

Life

Munsky was born in 1943 as the daughter of the architect Oskar Munsky (* 1910 in Marienburg; † 1947 in a POW camp) and the photographer Gertrud Schmidt (* 1912 in Darmstadt ; † 1986 in Wolfenbüttel ). In the 1930s, as a student of Hans Poelzig , her father was involved in the extension of the underground station for the Berlin Olympic Stadium and in the construction of the Reichswerke AG for ore mining and ironworks "Hermann Göring" in Salzgitter. In March 1962 Munsky finished her school career at the Anna-Vorwerk-Oberschule with the secondary school certificate.

From the autumn semester of 1962 she studied in Peter Voigt's class at the Städtische Werkkunstschule in Braunschweig, which was upgraded to the State University of Fine Arts the following year . In 1963 Munsky had an abortion that was performed in Amsterdam as the procedure was prosecuted in Germany during those years. Abortion can be seen as a trigger for her later painterly subject. From 1964 to 1965 she continued her studies with a scholarship at the Accademia di belli arti in Florence in the class of Ugo Capocchini and graduated as a primary school teacher in Italy. In Florence Munsky changed her appearance, dyed her blond hair black, which she kept from then on until the end of her life, from then on dressed exclusively in black and changed her first name registered in the birth certificate from Meina to Maina and added the name Miriam, which is of Jewish origin. From 1966 to 1970 she studied at the State University of Fine Arts in Berlin with Alexander Camaro and Hermann Bachmann . Munsky developed her first paintings of embryos in the womb at the HdK.

While looking for an exhibition opportunity, she met the draftsman and graphic artist Peter Sorge . Sorge arranged her first solo exhibition in the artist self-help gallery Großgörschen 35 , which opened in February 1968. The artists of the Großgörschen group, from which the Critical Realists emerged, took a skeptical attitude towards society and referred to role models such as George Grosz , Hannah Höch or John Heartfield , the principle of collage and Dada . In 1970 Maina-Miriam Munsky and Peter Sorge married. In the same year she became a member of the German Association of Artists , in whose major annual exhibitions she took part until 1984. In December 1972 the son Daniel Ben was born.

Munsky was one of the founding members of the Aspect group , which existed from 1972 to 1978. Members were the artists Hermann Albert , Bettina von Arnim , Ulrich Baehr , Hans-Jürgen Diehl , Arwed D. Gorella , Wolfgang Petrick , Joachim Schmettau , Peter Sorge and Klaus Vogelgesang . The first acquisitions by museums were made in the 1970s. The Museum of Modern Art and the Collection of the Federal Republic of Germany each added a work by the painter to their holdings. On May 2, 1975 , the art historian Katrin Sello wrote about the sensation that Munsky's work repeatedly caused : “This is not a criticism of the impersonal objectivity of modern gynecology, even if Maina-Miriam Munsky is classified as a Critical Realist in Berlin and belongs to the group "Aspect". The provocative aspect of the images lies in another area. By showing the real process of birth without any sublimation into the mythological or idyllic, they violate taboos, mobilize all resistance of the viewer, to the point of turning away and abrupt rejection, because they reach a traumatic limit. "

Maina-Miriam Munsky was excluded from participating in the exhibition “International Women Artists 1877-1977”, which took place in the orangery of the Charlottenburg Palace . The exhibition was considered to be the most important inventory of female art to date. Over five hundred works by a total of one hundred and ninety artists were shown, including Louise Nevelson , Paula Modersohn-Becker , Meret Oppenheim , Georgia O'Keeffe , Eva Hesse , Bridget Riley , Käthe Kollwitz , Sonja Delaunay and Gabriele Münter . The jury, which emerged from the Neue Gesellschaft für Bildende Kunst, founded in 1969 and was made up exclusively of women, justified Munsky's exclusion with the argument that her uninvolved birth images were not female. In addition, the painter was accused of making common with the sexist depictions of her husband Peter Sorge , who combined photographs from pornographic magazines with scenes of violence in his drawings. Munsky, on the other hand, had already distanced himself from expressions of solidarity towards her fellow women since the early 1970s. When asked how she saw her position as a woman in the art world, the painter repeatedly stated publicly that she was against women groups joining together, that would only create new isolation.

However, in an interview with Cillie Rentmeister - in her catalog entry commissioned by the women's jury from "Künstlerinnen International" but removed immediately before going to press - she had expressed herself extremely positively about the women 's movement as such :

“I've always been very interested in these women's movement groups; There were groups that supported the abortion issue, and I always thought: man, that's exactly what you want, why aren't you doing it? But there was always fear, for God's sake, anything else that eats you up. And then one thing is enough, or now with the child two things that eat you up. But I think the women's movement is so important, and I also believe that this is what will be left of our time, our years, and later, and that this is one thing that should be supported back and forth and everywhere. "

From 1979 to 1981 the touring exhibition “Feminist Art Internationaal”, inspired by the Berlin inventory, took place in museums in Holland, Denmark and Sweden, in which Munsky then participated with several works.

At the height of her artistic recognition, Munsky's six-part series of pictures The Red Cloth , accompanying an exhibition by Frida Kahlo and Tina Modotti , was exhibited at the Hamburger Kunstverein . From 1982 to 1984 the painter was a visiting professor for basic teaching at the HBK Braunschweig . In 1984 she received the Art Prize of the State of Lower Saxony . In 1988 she held a visiting professorship at the International Summer Academy Pentiment at the University of Applied Sciences in Hamburg. From 1990 she was a member of the Artists' Association . In 1991 Munsky was a lecturer at the Summer Academy in Bremerhaven. The painter was represented by the Berlin gallery Poll .

Munsky died in Berlin in 1999 at the age of 56 as a result of her alcohol consumption. The common grave of Maina-Miriam Munsky and Peter Sorge is in the Old St. Matthew Cemetery in Berlin in the Schöneberg district. In 2013 the first inventory of Munsky's work, Painting away fear , edited by Jan Schüler and the Poll Art Foundation , Berlin, was published.

plant

Munsky, along with Peter Sorge, Klaus Vogelgesang, Wolfgang Petrick and Ulrich Baehr, was one of the artists of critical realism , an art movement that formed in West Berlin in the late 1960s . These artists did not have a clearly defined program, but what they all had in common, in addition to the realistic intention, was the need to distinguish themselves from the American photo and hyperrealists and the claim to reflect political experiences in an artistic production.

Munsky transferred the photos she had taken with the help of a slide projector onto the screen. But she was not a photo-realist in the true sense of the word and was guided by the New Objectivity , the verism of the 1920s. In her pictures she changed the templates, organized the picture by reducing it to the essentials and using a strict composition. She often laid out the backgrounds of her paintings as monochrome surfaces so that the viewer's gaze could not be distracted from what was actually happening. Her painterly themes revolved around pregnancy, the process of childbirth, surgery and death. In her works such as “Emancipation” and “Twins I and II”, clinical rooms and medical equipment are characteristic. The artist became known for her socio-psychological representation of this subject area. It impressively documented the potential of photorealism in precise, sober images from the delivery room .

From 1967 Munsky realized her first pictures of births that touched a taboo and met resistance. She painted these early depictions of embryos, the physical in allusions, fetuses and birth scenarios in a soft, flowing style that was only captured by grid-like structures, scaffolding, cages and lines. Works from this period are occasionally reminiscent of surrealist forms from Salvador Dali's pictures or of works by Francis Bacon . In 1970 Munsky was allowed, after examination by a commission of the clinic management, to take pictures for nine months in the municipal women's clinic in Berlin-Neukölln with Erich Saling in the delivery room during births and operations. After the photographs taken there, her paintings took on more concrete, stricter forms and showed recognizable situations. After Munsky had dealt exclusively with childbirth and surgery issues for over two decades, she changed her subject for the first time in 1989 and painted a series of gloomy and deserted rooms and views of pale window panes and house fronts.

Solo exhibitions (selection)

Group exhibitions (selection)

Working in public collections

Monographs

  • Maina-Miriam Munsky: Pictures and Etchings 1967–1975. 3rd expanded edition. Galerie Eva Poll, Berlin 1975. (with texts by Volker Lehmann, Dorothea Neumeister, Heinz Ohff )
  • Maina-Miriam Munsky. Märkisches Museum , Witten 1976. (with texts by Wolfgang Zemter, Eberhard Roters , Lucie Schauer )
  • Lothar C. Poll (Ed.): Peter Sorge. Catalog raisonné of the etchings, lithographs and hand drawings 1963–1979. Verlag der Galerie Eva Poll , Berlin 1979, without page number.
  • Maina-Miriam Munsky: Pictures and Drawings. Neuer Berliner Kunstverein , issue 47, Berlin 1981. (with texts by Ronald G. Laing, Lucie Schauer , Eberhard Roters )
  • Sigrid Estrada: One month in Berlin. Alexander Baier-Presse, Mainz 1979. (various portraits of Munsky, no page number)
  • Peter Sorge: pictures, drawings, graphics. Neuer Berliner Kunstverein and State Art Hall , Berlin 1987, pp. 13, 155.
  • Birgit Kleber: Portraits of women artists. Photographs. District Office Charlottenburg / Verlag Ruksaldruck, Berlin 1989, p. 90. (Portrait of Munsky p. 94)
  • Martin Winckler: A child made of paper. Novel. Argon Verlag, Berlin 1990. (Cover: Munsky's painting Emancipation)
  • Erhard Wehrmann : Moments. Painter and sculptor. Fuji Photo Film (Europe) GmbH, Düsseldorf 1995. (Portrait of Munsky from October 21, 1984, no page number)
  • Maina-Miriam Munsky: Seeing the cold light of the world. Galerie Eva Poll , Polleditions und InfoPress Verlagsgesellschaft, Berlin 2007, ISBN 978-3-931759-07-0 . (with texts by Lothar C. Poll and Birgit Heimbach)
  • Jan student : Elective affinities. Verlag Peter Tedden, Düsseldorf 2010, ISBN 978-3-940985-15-6 . (Portraits by Munsky on pp. 28, 29, 59, 68)
  • Jan Schüler: We are memories. We are electric. Verlag Peter Tedden, Düsseldorf 2013, ISBN 978-3-940985-32-3 . (Portraits by Munsky on pp. 5, 7, 14, 15 and cover)
  • Jan Schüler , Kunststiftung Poll Berlin (ed.): Maina-Miriam Munsky. Paint away the fear. Inventory of paintings and drawings 1964–1998 . With a foreword by Eva and Lothar C. Poll and texts by Jan Schüler, Eckhart Gillen , Lucie Schauer , Heinz Ohff . Verlag Kettler, Bönen 2013, ISBN 978-3-86206-292-8 .

Collective publications (selection)

  • Wolfgang Wangler (Ed.): Symbol. Journal of fine arts and poetry. No. 18, Düsseldorf 1975, no page number.
  • Peter Sager : New Forms of Realism. Art between illusion and reality. DuMont Buchverlag, Cologne 1977, ISBN 3-7701-0656-3 .
  • Eberhard Roters : The big city aspect. Künstlerhaus Bethanien / aspect group, Berlin 1977.
  • Cäcilia (Cillie) Rentmeister : New clothes for the Empress? The painter as a divided being in the age of manhood madness, the women's movement and the reproducibility of works of art. Pressure against censorship . Reprint Berlin 1977, originated in connection with "Künstlerinnen International" on "feministberlin.de" feministberlin.de , as well as a direct link to the full text feministberlin.de (PDF). Accessed on March 20, 2018.
  • Heinz Ohff : Art in Berlin since 1945. In: Berlin now. Contemporary Art 1977. Goethe-House New York, German Academic Exchange Service and Senate for Art and Science, Berlin / New York 1977, pp. 17, 56, 57.
  • Eberhard Roters : Maina-Miriam Munsky. In: Berlin. A critical view. Ugly Realism 20s-70s. Institute of Contemporary Arts and Berliner Filmfestspiele GmbH , London / Berlin 1978, pp. 120, 283, figs. 121–123.
  • Eberhard Roters : Art in Berlin from 1960 to today. Volume 2: holdings 1960–1979. (3 volumes in total), Berlinische Galerie , Berlin 1979, pp. 19, 111–113.
  • feminist art internationaal. Exhibition catalog. Gemeentemuseum Den Haag , 1979, pp. 13, 37, 48, 84, 103.
  • Jörg Krichbaum , Rein A. Zondergeld: Artists from antiquity to the present . DuMont Buchverlag, Cologne 1979, pp. 10, 20, 28, 249, 250, fig. 16.
  • Dietrich Mahlow: The principle of collage. Book 2: Exhibition Originals. Institute for Foreign Relations , Stuttgart 1981, pp. 66 and 67.
  • Timeline. In: art - the art magazine . No. 8 / August 1983, p. 18.
  • Nicholas Treadwell (Ed.): Sex Occupation. Female artist. The Art of Contemporary Women. Nicholas Treadwell Publications, Kent 1984, ill. P. 4.
  • Berlin. A plaster for artists. In: art - the art magazine . No. 4 / April 1985, pp. 48, 49.
  • Christa Murken-Altrogge , Axel Hinrich Murken : Processes of Freedom. From expressionism to soul and body art. Modern painting for beginners. DuMont Buchverlag, Cologne 1985, p. 45, ill. P. 209.
  • Jörg-Uwe Albig: Are the neo-realists artists or just copyists? In: art - Das Kunstmagazin , No. 3 / March 1986, pp. 8, 9.
  • Frank Nicolaus: Knowledge of encouragement and criticism within a shouting distance . (Art series artist couples: Peter Sorge and Maina-Miriam Munsky). In: art - the art magazine . No. 9 / September 1986, pp. 76-85.
  • art lexicon of contemporary artists. In: art - Das Kunstmagazin , No. 6 / June 1987, p. 77.
  • Eva Poll (Ed.): Positions of Realism 1967-1972-1987. Poll editions published by Galerie Eva Poll, Berlin 1987, pp. 54, 55.
  • Volker Adolphs: Appropriation and Criticism, Transformation and Construction of Reality. In: Art Mines. New acquisitions of contemporary art 1978–1990. Kunstmuseum , Düsseldorf 1990, pp. 138, 139, 146 (Fig. 160), 186.
  • Paolo Bianchi: Artist couples: Munsky & Sorge. In: Kunstforum international . Vol. 106, March / April 1990, Cologne 1990, pp. 218, 219, illus. P. 218.
  • Ruth Irmgard Dalinghaus: Truly: The out-of-body view through surgical glasses. In: Nordbild Nordbeeld. Figurative art from northwest Germany and the north of the Netherlands. Drents Museum , Assen and Landesmuseum Oldenburg , Assen / Oldenburg 1992, pp. 76–79, ill. Pp. 77, 78.
  • Gisela Staupe, Lisa Vieth: Under different circumstances. On the history of abortion. Deutsches Hygiene-Museum , Dresden / Argon Verlag, Berlin 1993, ill. On pp. 123, 125, 131, 133.
  • Eva Poll (Ed.): Cross section. 1968 back and forth. Verlag der Galerie Eva Poll, Polleditions, Volume 49, Berlin 1998, pp. 56, 57.
  • Lucie Schauer : End and turn. Art landscape Berlin from 1945 to today. (Statement series S 28). Lindinger + Schmid, Regensburg 1999, pp. 22, 183.
  • Paul Pfisterer, Claire Pfisterer: Signature Lexicon. Verlag Walter de Gruyter, Berlin / New York 1999, p. 478.
  • Axel Hinrich Murken : From foundling to media star. The discovery of the child through science. In: Children of the 20th Century. Aschaffenburg City Gallery and Middle Rhine Museum , Koblenz 2000, p. 65, ill. P. 67, 118.
  • Klaus Türk: Perspectives of industrial work in Germany since 1945. In: Images of work. An iconographic anthology. Westdeutscher Verlag , Wiesbaden 2000, p. 340, fig. 1308, 1309.
  • Michael Hübl: Scenes from a degree. In: Painting is dead. Long live painting. 150 years of the Karlsruhe Art Academy - the professors from 1947 to 1987. Exhibition catalog. Municipal Gallery Karlsruhe , Lindemanns Library, Karlsruhe 2004, p. 101.
  • Alfred Werner Maurer : New Realism - Concepts and Artists - Maina-Miriam Munsky. Philologus Verlag, Saarbrücken 2006.
  • Simone Tippach-Schneider , Katja Widmann, Art is not after bread. In: Food, Art. An exhibition with pictures from the Beeskow Art Archive and the collection of the Social Artist Promotion Berlin. Beeskow / Berlin 2007, pp. 13, 35.
  • Axel Hinrich Murken : Myth and Reality. The development of figurative painting in Germany in the late post-war period. In: 100 years of pictures. German painting of the 20th century. Vol. 30, State Museum for Art and Cultural History Oldenburg / Merlin Verlag , Oldenburg 2009, p. 121, illus. P. 120.
  • Sandra evening: Gods in white. Doctor myths in art. Wilhelm-Fabry-Museum , Hilden 2010, p. 170, fig. 93 on p. 175.
  • Michael Nungesser : Political Realism. Consumer society in the pillory. In: Awakening Realism. The new reality in the picture after '68. City museums Heilbronn . Kerber Verlag, Bielefeld 2012, ISBN 978-3-86678-686-8 , pp. 131-132.
  • Simone Tippach-Schneider : Maina-Miriam Munsky. In: Diva & Heroine. Images of women in East and West. Exhibition catalog. Star Media, Berlin 2012, ISBN 978-3-9813375-3-2 , pp. 96, 97.
  • Julia Bulk: The Reception of New Objectivity in the 1960s and 1970s. In: The Eye of the World: Otto Dix and the New Objectivity. Hatje Cantz Verlag, Ostfildern 2012, ISBN 978-3-7757-3439-4 , ill. Pp. 109, 110.
  • Eckhart J. Gillen (Ed.): Großgörschen 35. Departure for the art city Berlin 1964 . Exhibition catalog with texts by Barbara Esch Marowski, Lothar C. Poll , Eckhard J. Gillen. Haus am Kleistpark in cooperation with the Poll Art Foundation , Berlin 2014, pp. 26, 107, 119.
  • Jan Schüler : Paint away the fear. Life and work of Maina-Miriam Munsky . In: Single Moms. Single mothers and their living environment . Marianne Pitzen / Frauenmuseum , Bonn 2014, pp. 114–117, ISBN 978-3-940482-75-4 .
  • Künstleronderbund in Germany (Ed.): War and Peace. Realism of the Present , exhibition catalog, Berlin 2014, pp. 62, 63.

Newspaper articles (selection)

  • tr: Young painter is dedicated to the most feminine subjects. Maina-Miriam Munsky from Wolfenbüttel will soon be exhibiting in Wolfsburg after Berlin. In: Wolfenbütteler Zeitung. August 27, 1968, p. 6.
  • Heinz Ohff , The birth without sentimental transfiguration. Maina-Miriam Munsky exhibited in the Berlin Congress Hall. In: Wolfenbütteler Zeitung. December 2, 1971, p. 7.
  • Werner Rhode: Breaking the cord from a taboo. The Berlin painter Munsky exhibits birth pictures. In: Süddeutsche Zeitung , November 24, 1971.
  • Peter Hans Göpfert: Operating theater as a manic subject. Pictures and etchings by Maina-Miriam Munsky in Berlin. In: General-Anzeiger . Bonn, January 6, 1972.
  • Dieter Biewald: Maina-Miriam Munsky. Rethink the taboos. Berlin artists in conversation. In: Berliner Rundschau. September 6, 1973, p. 9.
  • Camilla Blechen: Style principles of the New Objectivity. Munsky at Poll. In: Frankfurter Allgemeine Zeitung , May 23, 1975, p. 27.
  • Katrin Sello : Berlin: Maina-Miriam Munsky. In: The time . No. 19/1975, p. 20.
  • Erika Lippiki: Birth without glossing over . Maina-Miriam Munsky in the Poll gallery. In: Der Tagesspiegel , April 29, 1975.
  • Heinz Ohff : We are facing. Pictures and drawings by Maina-Miriam Munsky. In: Der Tagesspiegel . October 31, 1981.
  • e. p: Images of mighty powers. In: Hamburger Abendblatt , August 2, 1982, p. 13.
  • Rolf Brockschmidt: chronicler of the modern clinic. For the painter Maina-Miriam Munsky, the focus is on people. (Faces of the Big City) In: Der Tagesspiegel , July 10, 1983, p. 39.
  • Can we do what we can? On the Limits of Intervention in the World-Five Answers to a Question. In: Frankfurter Allgemeine Zeitung , December 24, 1983, Ill.Munsky: Bein II, p. 22.
  • kai: icons of impotence in clinical settings. The works of Maina-Miriam Munsky and Peter Sorge in the Gering-Kulenkampff Gallery. In: Frankfurter Rundschau , April 9, 1987.
  • Camilla Blechen: In hospitals. On the death of the painter Maina-Miriam Munsky. In: Frankfurter Allgemeine Zeitung , October 30, 1999.
  • Heinz Ohff : Clinical Modernity. On the death of the painter Maina-Miriam Munsky. In: Der Tagesspiegel . October 29, 1999, p. 33.
  • Birgit Heimbach: See the cold light of the world. In: German Midwives Journal. 3/2006, Elwin Staude Verlag, Hanover 2006, pp. 66–68.
  • mie: borderline situations of humans. Wolfenbüttel personalities in portrait. Maina-Miriam Munsky. In: Wolfenbütteler Schaufenster. July 13, 2008, p. 6.
  • Martina Hesse: An artistic life for change and transformation. Jan Schüler , painter from Düsseldorf, presents the work of the almost forgotten Maina-Miriam Munsky in the Mönchehaus Museum in the series "Art and Medicine". In: Goslarsche Zeitung , January 17, 2011, p. 20.
  • Dagmar Klein: A cool observation of the emotional topic. Lecture by Jan Schüler in the Kunsthalle on "Life and Work of Maina-Miriam Munsky" , In: Gießener Allgemeine Zeitung , August 21, 2012, p. 29.
  • Kolja Reichert: Focus picture. Berlin, capital of painting? A journey through time across walls and canvases, from the 1960s to today. In: Der Tagesspiegel , September 17, 2013, p. 23, fig.Munsky, leg I.
  • ir: The break with the taboo. “Painting away fear” - a powerful memory of Maina-Miriam Munsky in the Poll gallery. In: Berliner Zeitung , September 19, 2013, p. 7.
  • Michael Nungesser : The way things are. In: Der Tagesspiegel , October 5, 2013, p. 30.
  • Dagmar Klein: Knitted from your own legend. The artist Jan Schüler , who grew up in Giessen, presents a monograph on the Berlin painter Maina-Miriam Munsky. In: Gießener Allgemeine Zeitung , December 24, 2013, p. 29.
  • Heinz-Norbert Jocks : Without blinkers. Maina-Miriam Munsky, the Berlin realist, is rediscovered. In: Kunstzeitung . January 2014, No. 209, Verlag Lindinger + Schmid, p. 14.
  • Jan-Paul Koopmann: Social issues. Art of life and death. The annual project “Life” starts with an art exhibition in the cultural ambulance . In: the daily newspaper , March 2, 2014.
  • Heidrun Wirth: "Painting away the fear". Works by Maina-Miriam Munsky in the Bonn Women's Museum . In: Kölnische Rundschau , May 15, 2014.
  • Christina zu Mecklenburg: And suddenly art breaks loose. Bonn exhibitions in the women's museum and in the galleries, dining room and space for art and nature . In: General-Anzeiger , May 19, 2014, p. 12, Ill.Munsky: Bein I.
  • Sabine Kleyboldt: The Miss Mother. The Women's Museum in Bonn is dedicated to single parents in the past and present . In: Frankfurter Neue Presse , July 8, 2014, Fig.Munsky: Electrode, 1973, and neonates VI, 1975.
  • Rosemarie Stein: The Perinatal Painter. Maina-Miriam Munsky (1943-1999) . In: Berlin doctors. The official journal of the Berlin Medical Association , Volume 51, 12/2014, p. 35

Web links

Commons : Maina-Miriam Munsky  - Collection of pictures, videos and audio files

Individual evidence

  1. ↑ tr: Young painter is dedicated to the most feminine subjects. Maina-Miriam Munsky from Wolfenbüttel will soon be exhibiting in Wolfsburg after Berlin. In: Wolfenbütteler Zeitung August 27, 1968, p. 6.
  2. ↑ Jan Schüler , Painting away fear. About birth, death and the change in life. In: Maina-Miriam Munsky. Paint away the fear. Inventory of paintings and drawings 1964–1998. Verlag Kettler, Bönen 2013, ISBN 978-3-86206-292-8 , p. 16.
  3. ↑ Jan Schüler: Painting away the fear. About birth, death and the change in life. In: Maina-Miriam Munsky. Paint away the fear. Inventory of paintings and drawings 1964–1998. Verlag Kettler, Bönen 2013, ISBN 978-3-86206-292-8 , p. 18.
  4. ↑ Jan Schüler: Painting away the fear. About birth, death and the change in life. In: Maina-Miriam Munsky. Paint away the fear. Inventory of paintings and drawings 1964–1998. Verlag Kettler, Bönen 2013, ISBN 978-3-86206-292-8 , p. 20.
  5. ↑ kuenstlerbund.de: Exhibitions since 1951 ( Memento of the original from March 4, 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. Retrieved November 19, 2015 @1@ 2Template: Webachiv / IABot / www.kuenstlerbund.de
  6. ↑ Frank Nicolaus: Encouragement and criticism within shouting distance . Art series artist couples. Peter Sorge and Maina-Miriam Munsky, in: art - Das Kunstmagazin, No. 9 / September 1986, pp. 76–85.
  7. ↑ Aspect big city. Exhibition catalog, Künstlerhaus Bethanien / aspect group, Berlin 1977.
  8. ^ Katrin Sello : Berlin: Maina-Miriam Munsky. In: The time . No. 19, Hamburg, May 2, 1975, p. 20.
  9. ↑ Jan Schüler , Painting away fear. About birth, death and the change in life. In: Maina-Miriam Munsky. Paint away the fear. Inventory of paintings and drawings 1964–1998. Verlag Kettler, Bönen 2013, ISBN 978-3-86206-292-8 , p. 28.
  10. ↑ Frank Nicolaus: Encouragement and criticism within shouting distance. Art series artist couples. Peter Sorge and Maina-Miriam Munsky. In: art - the art magazine . No. 9 / September 1986, p. 85.
  11. ↑ Jan Schüler: Painting away the fear. About birth, death and the change in life. In: Maina-Miriam Munsky. Paint away the fear. Inventory of paintings and drawings 1964–1998. Verlag Kettler, Bönen 2013, ISBN 978-3-86206-292-8 , pp. 30–32.
    Camilla Blechen: Women's Art in Berlin. An exhibition where the most important names are missing in the Charlottenburg Palace. In: Frankfurter Allgemeine Zeitung . March 30, 1977.
  12. ↑ Quote from Cillie Rentmeister : New clothes for the empress? The painter as a divided being in the age of manhood madness, the women's movement and the reproducibility of works of art. Pressure against censorship . Reprint Berlin 1977, conversations with eight female painters - in full text as well as in the context of the development of the exhibition “Künstlerinnen International” on the web platform “feministberlin.de” feministberlin.de ( Memento of the original from March 20, 2018 in the Internet Archive ) Info: The archive link was inserted automatically and not yet tested. Please check the original and archive link according to the instructions and then remove this notice. ; There is also a direct link to the full text of feministberlin.de (PDF). Accessed on March 20, 2018. Rentmeister - like Sarah Haffner - criticized Munsky (and other artists) 'rejection by the women's jury, and had interviewed both painters for their catalog contribution. In the reprint there is also Sarah Haffner's letter of protest, with which she protests against opaque jury criteria and the exclusion of Munsky. Quotes Munsky u. a. on pp. 10, 12, 14-16, 24-25. @1@ 2Template: Webachiv / IABot / feministberlin.de
  13. ↑ ibid. Pp. 24-25
  14. ↑ feminist art internationaal. Exhibition catalog, Haags Gemeentemuseum, Den Haag 1979, pp. 13, 37, 48, 84, 103.
  15. ↑ Images of mighty powers. In: Hamburger Abendblatt , No. 176, August 2, 1982, p. 13.
  16. ^ Visiting professorships Pentiment 1988 - 2013. (PDF) In: pentiment.de ( PDF ).
  17. ↑ Jan Schüler and Poll Art Foundation , Berlin (ed.): Maina-Miriam Munsky. Paint away the fear. Inventory of paintings and drawings 1964–1998. Verlag Kettler, Bönen 2013, ISBN 978-3-86206-292-8 .
  18. ↑ see: Jan Schüler , Maina-Miriam Munsky. Paint away the fear. Inventory of paintings and drawings 1964-1998. Verlag Kettler, Bönen 2013, p. 26, ISBN 978-3-86206-292-8 .
  19. ↑ Principle Realism, exhibition catalog, ed. from the DAAD, the Goethe-Institut Munich and the Poll Gallery , Berlin 1972.
  20. ↑ see: Jan Schüler , Maina-Miriam Munsky. Paint away the fear. Inventory of paintings and drawings 1964-1998. Verlag Kettler, Bönen 2013, p. 14, ISBN 978-3-86206-292-8 .
  21. ^ Rolf Brockschmidt: Chronicler of the modern clinic. For the painter Maina-Miriam Munsky, the focus is on people. (Faces of the big city). In: Der Tagesspiegel , No. 11487, from July 10, 1983, p. 39.
  22. ↑ Munsky's painting Sonde from 1974 on the website of the Städel Museum , accessed on May 24, 2019
  23. ^ Work (drawing birth from 1976) by Maina-Miriam Munsky on the website of the Museum of Modern Art , accessed on December 28, 2018
  24. ^ Works by Maina-Miriam Munsky on the website of the Neuer Berliner Kunstverein , accessed on December 28, 2018
  25. ↑ Work (drawing abortion is a man's thing from 1976) by Maina-Miriam Munsky on the website of the Poll Art Foundation , accessed on December 28, 2018
  26. ^ Illustration on the Bundeskunstsammlung page , accessed on December 28, 2018
  27. ↑ Graphic by Maina-Miriam Munsky on the city library website , accessed on May 24, 2019
personal data
SURNAME Munsky, Maina-Miriam
ALTERNATIVE NAMES Munsky, Meina (maiden name)
BRIEF DESCRIPTION German painter of New Realism
DATE OF BIRTH September 24, 1943
PLACE OF BIRTH Wolfenbüttel
DATE OF DEATH October 26, 1999
Place of death Berlin