What Is the Name of Art That Is a Person Painted
by Birthe Havmoeller
Introduction:
The term 'lesbian artist' meaning a 'lesbian feminist artist' was coined past the feminist movement of the 1970s. I utilize the term 'lesbian artists' as an umbrella term in this commodity, every bit a description of women artists who loved women and chose follow their desires and get involved in romantic relationships with women rather than following the (heteronormative) European norm: to get married. Greek poet Sappho's association with erotic dear between women dates to at to the lowest degree 1825 in writing in English, sparking the utilize of words similar 'sapphist' and 'sapphism'. The substantive 'lesbian' was first recorded in the 1890 Billing's Medical Dictionary. Around 1900 the terms 'invert', 'lesbian', 'homosexual' and 'homosexuality' were to some extend interchangeable with 'sapphist' and 'sapphism'. The 'sapphists' identified with Sappho (the Greek poet) i.eastward. they were leaders, members of an aristocracy. The 'lesbians' were followers of the Sapphists, thus these terms describe the implicit class system of the homosexuals community of the time in Europe. All the women worked in some way or other to create their versions of woman-centered communities through salons, all adult female trip the light fantastic toe groups, performance, personal networks, etc.
The informal networks of the lesbian artists in pre-1950 Europe and their loving relationship are likely to have influenced their creative exercise; they were not equally explicit in their writings about the importance of their romantic partners and "wifes" as source of creative inspiration, guidance and moral or financial support, or their personal diaries have been lost to history. This commodity presents glimpses of their lives.
Rosa Bonheur (1822 – 1899)
Equus caballus Fair by Rosa Bonheur (created in 1852 – 1855). The scene is the equus caballus marketplace in Paris. The dome of La Salpêtrière is visible in the background.
French painter Rosa Bonheur (1822 – 1899) was both famous as an creative person and every bit a lesbian in her life. She had an ardent love for horses, beautiful calves, dogs and other domesticated animals. A French government commission led to Rosa Bonheur's showtime great success: Ploughing in the Nivernais, exhibited in 1849. Her well-nigh famous work, the monumental Horse Fairwhich measured 2.5 chiliad loftier past four.ninety m wide was completed in 1855. Rosa wore men's clothes when she worked with the animals who were her models. She lived in a relationship for 45 years with Nathalie Micas. After Nathalie'southward expiry American artist Anna Elizabeth Klumpke became Rosa'south second wife and her biographer. The richly illustrated biography was published in 1909 as Rosa Bonheur: sa vie, son oeuvre.
Mary Lloyd (1819 – 1896)
Mary Lloyd (1819 – 1896) was a Welsh sculptor. In 1853 she was working in the studio of fellow Welsh sculptor John Gibson in Rome. She was a member of the international colony of artists in Rome forth with artists such as American lesbian sculptor Harriet Hosmer. In 1859 Mary became financially contained after the decease of her father and in the winter of 1861-62, she met Frances Power Cobbe, a writer and leading women'south suffrage campaigner. They vicious in beloved and in 1863 they settled together in London. Before long afterwards Mary ended her career as an artist. However, she is known to have been a lifelong friend of French artist Rosa Bonheur. Mary and French republic'southward relationship lasted for 34 years until Mary's expiry in 1896.
Louise Abbéma (1853 – 1927)
Self-portrait by Louise Abbéma (1876) and Sarah Bernhardt 1875 past Louise Abbéma (1875).
Louise Abbéma (1853 – 1927) was a French painter, sculptor and designer of the Belle Époque. She was built-in into a wealthy Parisian family unit, who were well connected with the local creative community. Louise started painting at an early on age and received the outset recognition for her work at age 23 when she painted a portrait of famous French actress Sarah Bernhardt (in 1875), her lifelong friend and lover. Louise exhibited ofttimes at the Salon des Artistes Françai in Paris until 1926.
Ambrosia Tønnesen (1859 – 1948)
Ambrosia Tønnesen was wearing bloomers (popular bicycle wear for women in the 1890s) when she worked in her studio.
Norwegian sculptor Ambrosia Tønnesen (1859 – 1948) studied art in Copenhagen, Denmark in 1884 and presented her start works at an exhibition in Bergen, Kingdom of norway the same year. A year afterward she went to Berlin to go on her art studies and in 1887 she moved to Paris, where she studied and worked for more than 20 years. Ambrosia met her wife British Mary Banks in 1888 and they lived together for 30 years in Paris and in Bergen, Norway.
Sigrid Blomberg (1863 – 1941)
Sigrid Blomberg was a Swedish sculptor. She grew up in the countryside of the canton of Småland in the south of Sweden and moved to Stockholm at the age of 21 to study art. She studied sculpture at the Stockholm Fine art Academy, and afterwards she furthered her studies in Dresden, Germany. In 1890 she got an important assignment: an alter group sculpture for Oskarshamn's church in Sweden. This lead to more than assignments, among others Bebådelsen (the Annunciation) which she had made in Italia for the Swedish Country. She worked in Florence, Italia, for some years before she returned to Stockholm. Sigrid Blomberg worked in many materials. In the early years, she worked with woods only, afterward her choice of materials comprised of dirt, plaster, marble, bronze and stone. She mainly produced works for public spaces and avoided displaying her art in exhibitions. There are probably several reasons for her reluctance, and today she is written out of Swedish art history. In 1904, Sigrid Blomberg built a summertime residence in her Småland homeland where she worked for many years. Her life companion was the historian and author Sigrid Leijonhufvud.
Sapphism And The Male person Artists' Erotic Fantasies In The 19th Century
Sappho and Erinna in a Garden at Mytilene by Simeon Solomon (1864).
English language Pre-Raphaelite painter and Jewish gay human being Simeon Solomon (1840 – 1905) depicted the lesbian poet Sappho in his painting Sappho and Erinna in a Garden at Mytelene (1864). French painter Gustave Coubert (1819 – 1877) painted Le Sommeil/ The Sleepers (1866). – No doubt Coubert was painting his heterosexual male person fantasy of 2 nude women together in this painting. A few years later the painting was banned from being exhibited.
Le Sommeil by Gustave Coubert (1866).
Post-Impressionist painter Henri de Toulouse-Lautrec as well painted lesbians. He has fabricated a number of realistic paintings of friendships and intimate relationships between women such as In Bed: The Kiss (1892) and Les deux amies (1895).
The voyeuristic male person gaze and the male artists' depictions of lesbianism turned lesbians into erotic objects of desire for men. This trend of producing titillating lesbian imagery for male person consumption has bloomed to the extent that 'lesbian fine art' today is a euphemism for erotic female nudes and pornographic "lesbian" imagery created past men for male consumption.
The 1895 trials of British author Oscar Wilde helped shape the emergent identity of the homosexual as both a criminal offender and a maverick creative person. There was an extensive press coverage of the trails and Oscar Wilde was charged with 'gross indecency', an act which only could be perpetrated by 'male persons'; women could not commit the crime of gross indecency, much less be bedevilled for it, equally the legal system in the UK failed to imagine the very possibility of lesbian sexuality in the 19th century.
The Lesbian 'Selfies' And Other Gender-bending Experiments
With photography becoming the new popular media at the beginning of the of the 20th century a number of lesbian photographers started making staged photographs of themselves, the commencement lesbian 'selfies' were created and snapshots are taken of friends and lovers. These photos offering a remarkable glimpse into the photographers' private lives, gender-angle experiments and fine art projects.
Marie Høeg (1866 – 1949)
Self-portrait smoking past Marie Høeg (left) and her partner Bolette Berg (1895 – 1903). It was considered unladylike to smoke around 1900, but women saw cigarettes as a sign of freedom. A sign that they were their ain person.
Photographers Marie Høeg (1866 – 1949) and Bolette Berg operated a commercial studio in the Norwegian boondocks of Horten from 1895 to 1903. Marie Høeg was a suffragette and she used their studio as a meeting place for fellow activists and women interested in the suffrage movement and women's right to vote. In the 1980s a box of the partners' glass plate negatives marked "private" was discovered on a subcontract where they once lived, revealing their private lives and lesbian 'selfies'.
Claude Cahun (1894 – 1954)
Self-portraits by Claude Cahun.
In effectually 1919 Parisian artist and writer Lucy Renee Mathilde Schwob (1894 – 1954), age 25, became Claude Cahun. She was living with her life-partner and artistic collaborator Marcel Moore, whose given proper name was Suzanne Malherbe. Claude was one of the few women surrealists in André Breton's French surrealist circle. Her oeuvre consists of a body of photographs with shaven-headed androgyne, cloaked and masked, cross-dressed cocky-portraits equally different characters and a number of publications and unpublished writings. Claude Cahun's piece of work in the 1920s and 1930s was nearly forgotten until the late 1980s, and much of her and Suzanne'southward piece of work was destroyed past the Nazis, who requisitioned their home on Jersey. What remains is by and large in the collection of Jersey Heritage Trust.
In the 1990s Claude Cahun achieved international posthumous fame for her 'queer' photographs which are withal very popular and often on brandish at museums around the world.
'In Russia, women poets and artists were also experimenting with gender at the plow of the twentieth century. Cantankerous-voicing in poetry and cross-dressing in public characterized the (self-) representation of some of the more radical creative women of the fourth dimension. The destabilization of gender typified not only their art, only likewise the way they exhibited their bodies, and information technology informed their subjectivity in a totalizing style.' – Alexandra Exeter
Elizaveta Sergeyevna Kruglikova (1865 – 1941)
Horse Race by Elizaveta Kruglikova (1914).
Russian artist Elizaveta Sergeyevna Kruglikova (Russian: Елизавета Сергеевна Кругликова; 1865 – 1941) studied painting in Paris at the kickoff of the 20th century. She painted the Equus caballus Race in 1914 simply before World War I. She has also made a remarkable serial of black silhouette portraits and silhouettes of street life in Paris. Elizaveta Kruglikova was a lesbian who invested her creativity in the act of unveiling her gender ambiguity. Her masculine fashion included participation in male sports, such as long-distance cycling and mountain climbing. The artist and her girlfriend, Mademoiselle Sellier cycled from Paris to Brittany effectually 1905, wearing special cyclist trousers (the cycle bloomers) which were nonetheless considered to exist rather shocking in provincial France.
The Salons And Their Hostesses
Lesbian artists (couples) would entertain artists and other people from the cultural elite in a 'salon' in their homes. This was a popular way of getting together with like-minded people. Today some of them are famous for their literary salons and informal networks of homosexual artists and other creatives.
'Nathalie Barney held early on gatherings of the salon at her business firm in Neuilly. The entertainment included poesy readings and theatricals (in which Colette sometimes performed). Mata Hari performed a dance once, riding into the garden as Lady Godiva on a white horse harnessed with turquoise cloisonné. The play 'Equivoque' may have led Natalie Barney to leave Neuilly in 1909. According to a contemporary paper commodity, her landlord objected to her holding an outdoor performance of a play about Sappho, which he felt "followed nature too closely".' – Wikipedia
Natalie Clifford Barney (1876 – 1972)
Natalie Clifford Barney (1876 – 1972) was an American playwright, poet, novelist and expatriate who lived in Paris from 1900 until her death. Natalie held a salon for more than lx years, first at her home in Neuilly and from ca 1909 at her home in Paris' Left Bank. In this period she brought together writers and artists from around the earth. She was openly lesbian and began publishing beloved poems to women under her ain name equally early as 1900; the title of her beginning drove of poems was Quelques Portraits-Sonnets de Femmes (Some Portrait-Sonnets of Women). Her longest human relationship, l years, was with the American painter Romaine Brooks, whom she met effectually 1914.
Romaine Brooks (1874 – 1970)
Particular from Self-portrait past Romaine Brooks (1923).
American painter Romaine Brooks (1874 – 1970) and the partner of Romaine Brooks lived most of her life in Paris, where she was a leading figure of an advanced counterculture of upper-class Europeans and American expatriates, many of whom were creative, maverick and homosexual. She is famous for her images of women in androgynous or masculine dress, including her self-portrait of 1923, where she is in a masculine glaze, wearing a high hat. Romaine Brooks's exploration of gender and sexuality in many of her portraits led to a postal service hum interest in her piece of work in the 1980s and a new biography which includes details about her life every bit a lesbian was published in 2016.
Nan Hudson (1869 – 1957) & Ethel Sands (1873 – 1962)
Tea with Sickert by Ethel Sands (1911 – 1912).
American creative person Anna Hope 'Nan' Hudson (1869 – 1957) became a young adult female of independent ways in 1892. She had the freedom to choose her own path in life and she moved to Paris to study art. There she met fellow American art student Ethel Sands (1873 – 1962), who became her life-partner. They lived and worked in Europe for the residuum of their lives, dividing their fourth dimension betwixt France and England.
Due to Ethel family unit's wealth she nerveless fine art and was a patron, simply she is best known equally a hostess for the cultural elite in her homes in England and in Nan's house in French republic.
Gertrude Stein (1874 – 1946)
Gertrude Stein (1874 – 1946) was an American novelist, poet, playwright, art collector and Jewish lesbian. She moved to Paris in 1903 and made France her new home. She held a salon in Paris, where the leading figures of modernism in literature and art would meet. Many of her guests were homosexual or bisexual artists such as her painter Marie Laurencin. Gertrude'south early publications include Q.Due east.D. (Quod Erat Demonstrandum) (1903), near a lesbian romantic affair involving several of Stein'southward female friends. In 1933, she published a "memoir" of her Paris years: The Autobiography of Alice B. Toklas, written in the phonation of her partner, Alice B. Toklas. The volume was followed past an enormously successful American book bout in 1934-35, where she gave lectures about herself, the Parisian avant-garde and mod fine art, and had taken tea with Eleanor Roosevelt in the White House.
Marie Laurencin (1883 – 1956)
Le Bal élégant, La Danse à la campagne by Marie Laurencin (1913).
French painter and bisexual woman Marie Laurencin (1883 – 1956) was an important figure in the Parisian avant-garde as one of the few female Cubist painters; she presented her portraits of women at exhibitions in France and Usa earlier Earth War I and was a frequent guest in Gertrude Stein's salon. Her work lies outside the bounds of Cubist norms in her pursuit of a specifically feminine aesthetic by her employ of pastel colours and curved lines, evoking an enchanted globe. She also painted portraits of Parisian celebrities and produced theatre sets, in detail for the Ballets Russes.
In 1983 the Musée Marie Laurencin opened in Nagano Prefecture, Japan. The museum is home to more 500 of her works and an annal.
The New Woman of the 1920s and 30s
Women had joined the labour force during World War I. Later on the war they were the eye of a new popular culture, becoming 'The Mod Woman' as we know her in the 1920s i.due east. the 'Girl' with bobbed hair or the 'Garçonne' with an 'Eaton bob', the shortest of the "bobbed" hairstyles wearing cloche hats.
Clare 'Tony' Atwood (1866 – 1962)
Olympia in State of war Time: Royal Ground forces Clothing Depot past Clare 'Tony' Atwood (1918).
Clare 'Tony' Atwood (1866 – 1962) was a British painter. During Globe War I and afterward, in 1920, she was commissioned to paint "state of war paintings". Clare lived in a female person ménage a trois in Kent with the dramatist Christabel Marshall aka Christopher Marie St John and the actress, theatre director, producer and costume designer Edith Craig from 1916 until Edith's death in 1947.
Tamara de Lempicka (1898? – 1980)
"The Musician" by Tamara de Lempicka (1929).
Tamara de Lempicka (1898? – 1980) was from a wealthy Smooth family unit. In 1918 she, her married man and their child moved to Paris, where she started studying painting. She developed her own unique manner in the 1920s, painting her erotic female nudes and portraits of mod liberated women of the elite in Europe. Arts author Elizabeth Ashburn writes: 'Her start lesbian affair was with a wealthy redhead, probably Ira Perrot, who modelled for her and she took her to Italy, paying all expenses. In Italia, the creative person discovered the paintings of Botticelli and Messina and attended lesbian parties. At i such gathering she bundled food tastefully on the trunk of a nude woman and then slowly ate "her midnight repast." In her trips to Italy, she became office of a circle that included Violette Trefusis (the lover of Vita Sackville-West) and Colette. These women appreciated bisexual behaviour and had numerous affairs with individuals of both sexes. In 1933, de Lempicka began an affair with a singer at the Boîte de Nuit, Suzy Solidar, a friendship that lasted several decades.'
The Nifty Depression had little upshot on Tamara; in the early 1930s, she was painting Rex Alfonso XIII of Kingdom of spain and Queen Elizabeth of Greece on her way into loftier society. Museums also began to collect her works and her new social status in loftier society was cemented, when she married her 2nd hubby.
Berenice Abbott (1898 – 1991)
Janet Flanner by Berenice Abbott. American announcer and lesbian Janet Flanner earlier a costume ball.
Berenice Abbott (1898 – 1991) went to Paris in 1921 to written report art. Photographer Human being Ray hired her as a darkroom assistant in 1923. She fell in dearest with photography and ran her own portrait studio from 1926 – 1929. She is famous for her portraits of the intelligentsia in Paris; to sit and be photographed past Berenice Abbott (and Man Ray) meant y'all 'rated as somebody' in Paris in the 1920s.
The turning point in Berenice's career came in 1929 when she returned to New York and began a 5-year effort chosen Changing New York, documenting the new architecture and the urban development of the city. In 1935 she moved into a Greenwich Village loft with the art critic Elizabeth McCausland, with whom she lived until Elizabeth's expiry in 1965. Berenice Abbott was a closeted lesbian all her life and had a very successful career as a photographer in the USA after her years in Paris.
Photographs of British writer Radclyffe Hall and her partner Lady Una Elena Troubridge appeared widely in the popular press in the 1920s, asserting Radclyffe's identity as a lesbian and a public effigy. Radclyffe Hall'south novel 'The Well of Loneliness' (1929) is said to take helped define the lesbian 'butch' and 'femme' identities. A British court judged the book obscene because it defended "unnatural practices between women". However, in spite of the initial legal issues, the book was met within the U.k. and the US 'The Well of Loneliness' gained international recognition enough to be included in public libraries in the U.s. and other countries. It was probably the merely slice of lesbian literature whatever young lesbian had ever heard virtually until the stop of the 1950s.
Marjorie 'Marlow' Moss (1889 – 1958)
An early work past Marlow Moss.
Marjorie Jewel 'Marlow' Moss (1889 – 1958) was one of Britain's most significant Constructivist artists. Against the wishes of her family unit she chose to pursue an artistic career, studying at the St John's Wood School of Art in 1916–17, then at the Slade School of Art in London. She changed her forename from Marjorie to "Marlow" and adopted a masculine appearance in effectually 1919. Her oeuvre spanned painting, sculpture and reliefs. Her paintings are highly abstract compositions with grids and coloured rectangles (which can easily exist mistaken for works past Dutch artist Piet Mondrian). In the 1930s she was based in Paris where she apprenticed herself to Fernand Lége. There she fabricated her all-white reliefs of wood, rope and string. She met her lifelong partner, the Dutch writer Antoinette 'Nettie' Hendrika Nijhoff-Wind in Paris. At the beginning of World War II Marlow left French republic to live near Lamorna Cove in Cornwall, studying architecture at the Penzance School of Art. Later Globe State of war II her architectural studies led her to develop new sculptural and relief works.
Hannah 'Gluck' Gluckstein (1895 – 1978)
Medallion by Gluck (1937); a double portrait of Gluck (right) with Nesta Obermer.
Hannah 'Gluck' Gluckstein (1895 – 1978) alias "Peyter Gluck" was born to a wealthy Jewish family in London. In the 1920s she decided to go an artist, insisted on being known just as "Gluck", dressed in male attire, and she lived openly with women throughout her life. Gluck painted landscapes, floral pieces and portraits of her friends, family and lovers. She was in a relationship with Constance Spry from 1932 – 1936. One of Gluck's best-known paintings, Medallion (1937), is a dual portrait of herself and her partner, Nesta Obermer.
The artistic tendency in the Weimar Republic was chosen 'Neue Sachlichkeit' (the New Objectivity) where the creative person could describe the world equally 'objectively' equally they saw it. In the 1930s 'Neue Sachlichkeit' art of the 1920s was labelled 'Entartete kunst' (Degenerate art) by Hitler and German language artists were banned from exhibiting and selling their works.
Lotte Laserstein (1898 – 1993)
"Self-portrait with a cat" by Lotte Laserstein (1923).
Painter Lotte Laserstein (1898 – 1993) was born in Preußisch Holland into a Jewish family. She received her artistic training in 1921 – 1927 at the Berlin Academy, which she entered equally i of the first female students simply a couple of years afterwards it had opened its doors to women painters. Lotte Laserstein was a lesbian. She depicted the 'New Woman' and she had adopted the appearance of a masculine expect herself, typically with an 'Eaton bob', making her look androgynous. In 1934 labelled under new Nazi racial laws as 'Three quarters Jewish', Lotte was barred from exhibiting in public, and in 1935 she was forced to carelessness her studio. Finally, in 1937 she emigrated to Sweden.
Jeanne Mammen (1890 – 1976)
Watercolor past Jeanne Mammen.
Jeanne Mammen (1890 – 1976) born in Berlin, grew upwardly in French republic later on 1900. She began her training as a painter and graphic artist in Paris, which she later continued in Brussels and Rome. Her family unit had to flee from France at the outbreak of World War I and as of 1915 Jeanne Mammen was again living in Berlin. In Berlin, she made a number of sketches and watercolours of 'batchelor girls' and butch-femme couples from a lesbian nightclub in Berlin. Her first exhibition at the Galerie Gurlitt, in 1930, was universally acclaimed by Berlin fine art critics and took its inspiration from the streets, featuring her images of strong, confident women and the lesbian customs of the late 1920s. A few years later Jeanne Mammen rejected the cultural politics of the Third Reich and during the fourth dimension from 1933 to 1945, she no longer participated in exhibitions. Afterward the war she continued her career as an artist.
Cover of Die Freundin (the Girlfriend). The theme of the consequence was „Die homosexuelle Frau und die Reichstagswahl" (The homosexual adult female and the national election), May 1928.
Berlin was going through a sexual revolution in the early on 1920s, manner made womens legs and arms visible for the outset time always in the streets and cafes of the metropolis; and a new visibility for lesbians emerged with publications of lesbian magazines such as Dice Freundin (first issue published in 1925) and Frauenlibe/Garçonne.
The 'lesbian scene' of the tardily 1920s and early 1930s attracted the attending of artists, authors, photographers and (male) doctors. French photographer Brasasï photographed lesbians at the lesbian bar, 'Le Monocle' in Paris, 1932. Magnus Hirschfeld, a High german physician, who had proposed a 'tertiary gender', made mannish women, effeminate men and cross-dressers in Berlin the objects of his clinical studies and political activism equally campaigner of civil rights for gay men, lesbians, women and illegitimate children.
Magnus Hirschfeld'due south work and the theses of sexologist such as Krafft-Ebbing and Havelock Ellis were instrumental in the establishment of the medical model of homosexuality, defining information technology as a form of 'natural biological variation' rather than a 'religious' question about sinful behaviour. And it inspired the post Globe War II American sexology's involvement in the homoerotic and homosexuality.
Hannah Höch (1889 – 1978)
Cut with the Kitchen Pocketknife through the Beer-Abdomen of the Weimar Republic (1919), a photomontage by Hannah Höch.
Surrealist artist, fellow member of the Berlin DADA move and bisexual woman Hannah Höch (1889 – 1978) is famous for her photomontages with photos pulled from newspapers and arts magazines, some of which present a very humoristic view on genders, gender-bending, the male person gaze and politics in the Weimar Commonwealth. She considered herself a part of the women'south motility in the 1920s and was disquisitional of the manner women were portrayed in the media, the hypocrisy of the Berlin Dada group (the members of which were predominantly male artists) and German social club every bit a whole. In 1926 she met Dutch author and linguist Mathilda 'Til' Brugman. They started a relationship which was to last for 9 years.
Gisèle Freund (1908 – 2000)
Cocky-portrait past Gisèle Freund.
Gisèle Freund (1908 – 2000) was a Jewish German-built-in photographer-photojournalist, famous for her documentary photography. She fled from Nazi Germany to Paris in 1933. Once in Paris, Freund continued to piece of work on her art and began studying at the Sorbonne, where she earned her PhD. in 1936. Among her assignments every bit a photographer in France was a series of images on the effects of the Depression in England for Life Mag. In Paris, she became friends of Sylvia Beach and Adrienne Monnier. In 1935 Adrienne arranged a marriage of convenience for Gisèle with Pierre Blum so that Gisèle could obtain a visa to remain in French republic legally. However, afterwards Gisèle had to flee from French republic and with the help of friends she escaped to Argentina. In 1947 Gisèle Freund was the first woman to sign a contract with Magnum Photos agency (as a Latin America contributor), merely by 1954 she was alleged persona non grata by the U.S. Government at the height of the Red Scare for her socialist views, and Robert Capa forced her to pause ties with Magnum Photos.
Anita Clara Rée (1885 – 1933)
Self-portrait past Anita Rée (ca. 1929).
Anita Clara Rée (1885 – 1933) was a German avant-garde painter during the Weimar Republic. She was built-in into an old Jewish family unit of Hamburg. She studied art in Hamburg and in Paris, and from effectually 1914 Anita Rée gained recognition equally a portrait painter. Life was difficult on Anita. She committed suicide in 1933. German historians name her reasons partly as a result of having been subjected to hostility from various groups and harassment by anti-semitic forces, partly due to disappointments on the personal level, the latter indicating that she probably was a lesbian.
Gertrude Sandmann (1893 – 1981)
Gertrude Sandmann (1893 – 1981) was a German painter. In 1913 Gertrude started to study the art school of the Berlin Association of Women Artists under Martin Brandenburg. As a native Berlin Jewess, she experienced non only World War I just besides the agony of Globe War 2 and the Holocaust. She belonged to the about 1,700 Jews who survived World War Ii hiding in Berlin. Afterwards a fictitious suicide, she went underground in 1942 helped by her Aryan girlfriend, Hedwig Koslowski, hiding in Hedwig's flat in Schöneberg. After, as a "Verfolgte des Naziregimes" (a victim of the Nazists), she was given an apartment in the centre of Berlin. Hither she lived together with her second partner Tamara Streck. Gertrude Sandmann worked as an artist until her death in 1981. She was an open up lesbian and has done much for the recognition of homosexuality in Federal republic of germany.
Tove Jansson (1914 – 2001)
Embrace by Tove Jansson
Finnish writer, illustrator and comic strip writer Tove Marika Jansson (1914 – 2001) is famous for her children's books virtually the Moomin. Tove Jansson wrote and illustrated her first Moomin book, The Moomins and the Great Flood, in 1945 during World War Ii. She said later on that the war had depressed her and that she had wanted to write something naïve and innocent. Tove was born Helsinki into a Swedish speaking family. Her parents were artistic and her siblings became artists as well. She had studied art in Stockholm, Helsinki and Paris from 1930 – 1938, and she opened her first solo exhibition in Finland in 1943. In 1956 she met Ida Helmi Tuulikki Pietilä a graphic creative person who became her lifelong partner. Tuulikki Pietilä inspired Tove to create the energetic figure 'Tooticky' in her Moomin books. Tove is said to take considered her careers as author and painter to be of equal importance. And she painted her whole life, changing fashion from the classical impressionism of her youth to the highly abstract modernist style of her afterwards years. The Moomin Museum in Tampere, Finland is dedicated to Tove Jansson's work on the Moomins.
Tove Jansson painting a fresco in 1947.
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