Rosa Schapire
Rosa Schapire (born September 9, 1874 in Brody , Austria-Hungary ; died February 1, 1954 in London ) was a German art historian and collector, patron and author. She translated works of literature and art history from French and Polish. She was one of the first women in Germany to receive her doctorate as an art historian. In addition to other Brücke artists, Rosa Schapire particularly supported Karl Schmidt-Rottluff , whose work she collected early on. He was one of her closest friends. Few women in art were scientists, patrons, and art critics and collectors at the same time.
Life
Youth and education
Rosa Schapire was born as the daughter of wealthy Jewish parents in eastern Galicia . She grew up with four sisters in Brody, where the majority of Jews lived at the time. She was brought up in three languages (Polish, German and French) and felt “probably determined by birth, upbringing and life's destiny” about internationalism . Her younger sister Anna Schapire-Neurath was a writer and married to the Austrian economist and philosopher Otto Neurath .
Rosa Schapire was interested in contemporary / modern art even as a young girl and studied art history at the University of Zurich , University of Leipzig , Humboldt University of Berlin and University of Heidelberg . As early as 1897, she published the essay Ein Wort zur Frauenemanzipation in the Socialist monthly magazine . In it, she distanced herself from the bourgeois women's movement , which only called for the “opening up of ever new types of occupation for women, separation of property in marriage, expansion of mother's rights”. She contrasted these demands with the situation of proletarian women and declared: “The solution of the women's question is only possible in a society in which the person has the profession and not the profession has the person.” She came to the conclusion: “Only in the socialist society State, restricted by no internal and external prejudices, as a limit only to one's own moral standard, it will be possible for women to become a free person, to surrender to the man of their choice in free love and to jump out of the realm of necessity the realm of freedom '. ”In 1901 she wrote an essay on the then controversial Swiss painter Ferdinand Hodler . In 1903 she published an article about Hamburg's private galleries in the Frankfurter Zeitung .
In 1904 she received her doctorate from the University of Heidelberg under Henry Thode . Fellow students were Edwin Redslob , Walter Kaesbach , Emil Waldmann and Ernst Kühnel . Despite her preference for contemporary art, she wrote her dissertation out of “Consideration with a lot of caution” towards the professorships on the Frankfurt architecture and landscape painter Ernst Morgenstern (1738–1819). Before the First World War, she began to work on the work of the Hamburg painter and illustrator Hans Speckter .
Hamburg and connection to the bridge
In 1905 Schapire moved to Hamburg . In the same year her translation from French of the Fragments d'un journal intime (1882-1884) , diary excerpts of the Swiss writer and philosopher Henri-Frédéric Amiel , was published by Piper Verlag . She translated works by the French novelist Honoré de Balzac into German, the novel Doktor Pascal by Émile Zola , as well as art publications from Polish. In 1906 she discussed in the March edition of the monthly booklet of art history literature in the chapter Dutch art Johanna de Jongh's book Die Dutch Landschaftsmalerei , which had been published in German by Bruno Cassirer the previous year .
The Hamburg district court director and art collector Gustav Schiefler drew Rosa Schapire's attention to the artists of the Die Brücke association , which was founded in Dresden in 1905. In June 1907, Schapire joined the bridge as a passive member , of which the painter Karl Schmidt-Rottluff was one of the founders . He cut your name "Rosa Schapire Frl Dr Hamburg" into the wood as number 30 of a total of 68 passive members in the membership directory he kept. Schapire got to know Schmidt-Rottluff personally in 1908, became close friends with him and became his sponsor.
She maintained lively correspondence with the members of the bridge. Her collection of more than a hundred postcards designed by the artists has been preserved , including a 1910 Schmidt-Rottluff and Max Pechstein postcard from Berlin to the "dear Miss Schapire". A Schmidt-Rottluff card depicts Rosa Schapire as a woman on the sofa from the same year . A map from 1911, painted by Ernst Ludwig Kirchner and co-signed by Max Pechstein and Otto Mueller , was auctioned in 1987 in Munich for 38,000 marks. On her 50th birthday in 1924, she received eight painted postcards from the "Brücke" artists. The artist postcards are in different museums and were brought together and exhibited for the Hamburg exhibition at the Museum für Kunst und Gewerbe in 2009.
Schapire was briefly on friendly terms with Emil Nolde and his wife. She wrote two essays about him and gave the opening speech at an exhibition in Hamburg in 1908. They soon became estranged, however, and contact finally broke off. An important reason for this becomes clear from the following sentences by Nolde in the second part of his memoirs, which appeared in 1934:
"A local lady is very interested in your art," "said Frau Rauert . It was Miss Dr. Schapiere, and when we got to Alsen their freshly written articles were sent to us. Letters also came flying. - The friendship between her and us that flared up quickly collapsed again. Only ashes remained. Gone with the wind. In art it was my first conscious encounter with a person of a different kind than I was. … Jews have a lot of intelligence and spirituality, but little soul and little creativity. A young, determined Jew, when I came to Berlin, said to me that: "Every young girl I am alone with for the third time has to fall." - That made a tremendous impression on me young people who could never leave me. All delicate, noble intimacies were sore to me. Jews are different people than we are. Or should a German girl hunter want and do the same?
At the end of May 1909 Schmidt-Rottluff, Erich Heckel , who brought a friend, and Rosa Schapire met in Dangast on the Jade Bay , where Schmidt-Rottluff used to spend the summer. In 1910 Schmidt-Rottluff came to Hamburg for three years and rented a studio at Johannisstrasse 6. At the beginning of 1911, Rosa Schapire succeeded in having the first solo exhibition of Schmidt-Rottluff's works in Hamburg at the Commeter gallery at Hermannstrasse 37. On January 8, 1911, she gave the opening lecture, which led the critic Denis Hoffmann in the Hamburger Fremdblatt to the statement, "Your prophecy that Schmitt-Rottluff won or will win a place in art history was a pretty but bold conclusion." In 1912 Schmidt-Rottluff's painting Georginen in Vase became the property of the Hamburger Kunsthalle . Later it came to the Kunsthalle Bielefeld .
Schmidt-Rottluff made a series of portraits of Rosa Schapire. A portrait from 1911 can be seen in the Brücke Museum Berlin . The portrait of Rosa Schapire , an oil painting from 1919, is like Woman with a Bag (1915) and Two Women (1912) in the Tate Gallery in London. Schapire bought a variety of his work, including oil paintings, wood sculptures, watercolors, and his prints. Schmidt-Rottluff furnished her apartment on the third floor at Osterbekstrasse 43 in Hamburg, where she had lived since 1908, and built furniture for it. He also designed clothes and jewelry for them. Franz Radziwill , who visited her frequently from 1920 and portrayed her three times, wrote about her living room: “She only lived in this room, which we called the Schmidt-Rottluff room, and there she experienced herself and herself in front of the pictures and objects of her love others. ”In addition to Schmidt-Rottluff's works, there was only room there for Radziwill's works that she had bought from him.
In 1916 Rosa Schapire and Ida Dehmel founded the women's association for the promotion of German fine arts . She supported the painter and graphic artist Willem Grimm , who came to Hamburg in 1924 and had close contacts with the Hamburg Secession , of which she had been a literary member since 1919 . In 1936, the writer Samuel Beckett visited Rosa Schapire in her apartment during a two-month stay in Hamburg and admired her furnishings as a total work of art by Schmidt-Rottluff.
After the end of the First World War , Rosa Schapire, Schmidt-Rottluff, his wife Emy and his sister Gertrud as well as their artist friends Bernhard Hoetger , Curt Stoermer and Heinrich Vogeler often stayed in the Schleswig-Holstein coastal town of Hohwacht . In 1923 Schmidt-Rottluff portrayed Rosa Schapire in the woodcut Frauenkopf RS. 1924 she published Karl Schmidt-Rottluff's graphic work until 1923 , which was published again in 1965. In 1929 she wrote the foreword to the exhibition catalog for the Schmidt-Rottluff exhibition in the Chemnitz Kunsthütte.
From 1919 to 1920, together with Wilhelm Niemeyer , she edited the expressionist art magazine Die Rote Erde , with a woodcut by Schmidt-Rottluff, founded the Kunstbund Hamburg in 1920, also with Wilhelm Niemeyer, and in 1920/1921 published the art magazine Kendung with original woodcuts by Charles Crodel, for example . In 1931 she was one of the founding members of the first German Zonta Club .
Ostracism in the time of National Socialism
After the National Socialists came to power in 1933, she worked in the Hamburg Jewish Cultural Association until 1939 . Young artists she sponsored thanked her for her support with around 20 portraits.
In connection with the “ Exhibition for Degenerate Art ” in Munich in 1937, Rosa Schapire was placed under house arrest in her Hamburg apartment. She could only publish under a pseudonym and emigrated to Great Britain in 1939 shortly before the start of the Second World War . She arrived in London on August 18, 1939. She had saved her Schmidt-Rottluff collection and the artist postcards from Germany. The Gestapo confiscated their library and auctioned the works of art they had left behind, a total of 86 items, on October 31, 1941 for 1,348.30 Reichsmarks. Your furniture painted by Schmidt-Rottluff burned in 1943 during an air raid in the Hamburg free port.
In the Hamburg exhibition from 2009, documents from the State Archives of the Free and Hanseatic City of Hamburg are shown in a separate room , from which it emerges that Schapire had to list her entire inventory of apartments and her income before "leaving", that the inventoried household items were auctioned and that Shapire's request for reparation from exile in London, despite her reference to her financial plight, was not decided until the late 1950s, after her death. The documents also contain a brief confirmation from Schmidt-Rottluff in which he quantifies the value of the works he donated to Schapire.
Exile in London
In London, Rosa Schapire earned her living by translating. She lived in modest circumstances in a room near the Tate Gallery , where she was employed as a freelance worker. In 1945/1946 she met the expressionist Ludwig Meidner , who portrayed her in four sketchbook drawings (catalog raisonné PR 34-27 to 30). From 1950 she worked on a monograph Maria von Heider-Schweinitz '(1894–1974), which she no longer completed. In 1953 she gave her last lecture at the exhibition of works by Schmidt-Rottluff in Leicester . In addition to other works, 40 woodcuts from her collection were exhibited.
Rosa Schapire died in 1954 in the Tate Gallery in London, near the Schmidt-Rottluff pictures she had given to the museum. She bequeathed most of her collection, including 600 graphic works, to German museums in Mannheim, Berlin, (Hamburg-) Altona, Hamburg and Cologne, with which she had been in contact after the end of World War II. She donated her postcard collection and prints to the Tel Aviv Museum in Israel and the Leicestershire Museums Art Galleries in Great Britain. Her correspondence with Franz Marc has been in the archive of the Germanisches Nationalmuseum in Nuremberg since 2005 .
With the exception of her sister Anna Schapire-Neurath, who died giving birth to her child in Vienna in 1911, all of her relatives perished in the Holocaust .
Portraits by Rosa Schapire
| Portrait of Rosa Schapire |
|---|
| Karl Schmidt-Rottluff , 1911 |
| Oil on canvas |
| 84 × 76 cm |
| Bridge Museum, Berlin
Link to the picture |
Rosa Schapire's artist friends have painted several portraits of her.
- In 1909 Schmidt-Rottluff painted Woman at the Table (Rosa Schapire) in watercolor and ink , which is owned by the Brücke Museum in Berlin, as well as the painting Portrait of Rosa Schapire in oil on canvas from 1911.
- Schmidt-Rottluff painted in 1915 (as mentioned above) with handbag (Woman with bag), they Tate Modern, London gave in 1950 and Portrait RS , located since 2019 in the Brücke Museum.
- In 1919 Schmidt-Rottluff painted the portrait Rosa Schapire in oil on canvas, which is in the Tate Modern.
- Walter Gramatté painted Rosa Schapire in 1920, sitting on a chair in a thoughtful posture. The painting is owned by the National Museums in Berlin, National Gallery.
Aftermath
In 1958 Gerhard Wietek published in Insel Verlag as volume 678/1 of the Insel-Bücherei Maler der Brücke - Colored Greeting Cards to Rosa Schapire by Erich Heckel, Ernst Ludwig Kirchner, Max Pechstein, Karl Schmidt-Rottluff . In 1990 the exhibition "Brücke" was presented to Dr. Rosa Schapire is shown, in which postcards from the estate were issued to Rosa Schapire by Brücke artists. The Hanseatic City of Hamburg named the Rosa-Schapire-Weg in Bergedorf after her.
In August 2009, a complete exhibition on Schapire opened its doors for the first time in the Hamburg Museum of Art and Industry . In the exhibition under the title Rosa. Strangely green. Rosa Schapire and the Expressionists were drawn her way as scholars; Exhibits were paintings from their collection, documents, photographs, postcards that the artists addressed to them, Schapire portraits, graphics by the “Brücke” artists and a virtual look into Schapire's living room in Hamburg-Uhlenhorst, which was furnished by Schmidt-Rottluff . The curator of the exhibition was Leonie Beiersdorf , it was designed by the Munich designer Holger Wallat .
In 2016 the Rosa Schapire Art Prize, endowed with 20,000 euros, was awarded by the Friends of the Kunsthalle e. V. launched. “An artist personality is to be honored, whose work is suitable to enrich a traditional and trend-setting museum like the Hamburger Kunsthalle and to keep it alive.” The first award went to Dan Perjovschi .
Works
- Johann Ludwig Ernst Morgenstern - A contribution to Frankfurt's art history in the 18th century. Heitz, Strasbourg 1904 (dissertation) in the Google Book Search USA
- Karl Schmidt-Rottluff's graphic work until 1923. Euphorion Verlag, Berlin 1924.
- Hans Speckter - a Hamburg painter 1848–1888. Saucke, Wienhausen 2004 (new edition)
Translations
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literature
- Maike Bruhns : Schapire, Rosa. In: The Jewish Hamburg - a historical reference work. Wallstein Verlag, Göttingen 2006, ISBN 978-3-8353-0004-0 , p. 223.
- Gerd Presler : Greetings to dear Ro. In: art , No. 8, 1989, ISSN 0173-2781 , pp. 54–65.
- Gerd Presler: "Bridge" to Dr. Rosa Schapire. Kunsthalle Mannheim 1990, ISBN 978-3-89165-067-7 .
- Gerd Presler: The bridge. Rowohlt, Reinbek 2007, ISBN 978-3-499-50642-0 , pp. 101-105.
- Gerd Presler: Dr. phil. Rosa Schapire - A very active passive member of the BRÜCKE. In: Rosa. Strangely green. Museum für Kunst und Gewerbe, Hamburg 2009/2010, pp. 104–127.
- Gerd Presler: Miss Doctor. In: Weltkunst, Das Kunstmagazin, November 2017, pp. 34–39.
- Gerhard Wietek : Dr. phil. Rosa Schapire. In: Yearbook of the Hamburg Art Collections, Volume 9, 1964, pp. 116-160. (With a list of their publications)
- Roland Jaeger, Cornelius Steckner: Zinnober - Hamburg art scene 1919–1933. Hamburg 1983, ISBN 3-924225-00-1 .
- Sabine Schulze (Ed.): Rosa. Strangely green: Rosa Schapire and the Expressionists. Editor Leonie Beiersdorf. Ostfildern 2009, ISBN 978-3-7757-2428-9 . At the same time catalog for the exhibitions of the same name in Hamburg in 2009 and in Chemnitz in 2009/2010. [1]
- Burcu Dogramaci, Günther Sandner (eds.): Rosa and Anna Schapire: Social Science, Art History and Feminism around 1900. Aviva-Verlag, Berlin 2017, ISBN 978-3-932338-87-8 .
- Shulamith Behr: Dr Rosa Schapire - Art Historian and Critic in Exile , in: No complaint about England? German and Austrian exile experiences in Great Britain 1933–1945, ed. by Charmian Brinson , Richard Dove, Anthony Grenville, Marian Malet and Jennifer Taylor. iudicium Verlag, Munich 1998 (Publications of the Institute of Germanic Studies, University of London School of Advanced Study, Vol. 72), pp. 215-223
- Schapire, Rosa , in: Ulrike Wendland: Biographical Handbook of German-Speaking Art Historians in Exile. Life and work of the scientists persecuted and expelled under National Socialism . Munich: Saur, 1999, ISBN 3-598-11339-0 , pp. 594-598
Web links
- Literature by and about Rosa Schapire in the catalog of the German National Library
- Karl Schmidt-Rottluff: Portrait of Rosa Schapire (1911) in the Brücke Museum, Berlin (Fig. 3)
- Karl Schmidt-Rottluff: Portrait of Rosa Schapire (1919) in the Tate Gallery, London
- Pink Schapire in the Dictionary of Art Historians (English)
- Doris Blum: The woman who was way ahead of her time . In: Die Welt , online edition April 6, 2001
Individual evidence
- ↑ Rosa Schapire in a letter to her friend Agnes Holthusen, quoted in: Gerd Presler: Greetings to dear Ro . In: art , No. 8, 1989, ISSN 0173-2781 , p. 56.
- ↑ Rosa Schapire: A word on women's emancipation. In: Sozialistische Monatshefte , 1897, p. 517.
- ^ S. Weblink Dictionary of Art Historians .
- ^ Emil Nolde: Years of Struggle. Rembrandt Verlag, Berlin 1934, pp. 101, 102.
- ↑ Quoted from Gerd Presler: Greetings to dear Ro. In: art No. 8, 1989, ISSN 0173-2781 , p. 61
- ↑ Quoted from Gerd Presler: Greetings to dear Ro . In: art No. 8, 1989, ISSN 0173-2781 , p. 64.
- ↑ Christian Schwandt: Be silent in another language. In: Die Zeit , issue 4/1996.
- ↑ The Chemnitz art collections still have the second largest Schmidt-Rottluff collection with 300 works.
- ^ The ZONTA founding members , d-nb.info, accessed on May 17, 2016
- ^ Exhibition in the Hamburg Museum for Art and Industry from August 28, 2009 to November 15, 2009 under the title Rosa. Strangely green. Rosa Schapire and the Expressionists
- ↑ The Brücke Museum now has the portrait of Rosa Schapire , berliner-woche.de, July 9, 2019
- ↑ Matthias Gretzschel: She helped the “Brücke” painters on their way to success. Supplement to the Hamburger Abendblatt under the title Museumswelt Hamburg , pp. 12/13.
- ↑ Petra Bosetti: Rosebud on Octopus. ( Memento from May 20, 2016 in the Internet Archive ) In: art-magazin.de, August 24, 2009, accessed on May 20, 2016.
- ^ 1st Rosa Schapire Art Prize for Dan Perjovshi , hamburger-kunsthalle.de, accessed on October 17, 2016.
| personal data | |
|---|---|
| SURNAME | Schapire, pink |
| BRIEF DESCRIPTION | German art historian and collector |
| DATE OF BIRTH | September 9, 1874 |
| PLACE OF BIRTH | Brody (Ukraine) |
| DATE OF DEATH | February 1, 1954 |
| Place of death | London |