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A PORTRAIT OF THE ARTIST AS A YOUNG WOMAN: EVA MARGARETHE BORCHERT-SCHWEINFURTH IN THE ART LIFE OF RIGA IN THE EARLY 20TH CENTURY (Makslinieces portrets jauniba: Eva Margarete Borherte-Sveinfurte Rigas makslas dzive 20. gs. sakuma)

100%

Abele K.

Materiali Latvijas makslas vesturei

2004

vol. 4

105-121

Although Eva Margarethe Borchert-Schweinfurth (1878-1964) has been repeatedly praised as the most interesting figure in the whole early-century Baltic German art of Latvia and Estonia, her reputation of the first lady in Riga art life by the World War I so far has not been based on detailed biographical investigations. To the deepest regret of the present-day State Museum of Art, Borchert-Schweinfurth's daring artistic statements, including her 1908 life-size self-portrait with a palette, are destroyed. With very few minor exceptions, it is exclusiveely from black-and-white reproductions of the Baltic Art Yearbook ('Jahrbuch fur bildende Kunst in den Ostseeprovinzen') that we now can learn something of this lost chapter in the local art history. Still a lot of press reviews, archive materials and other sources allow to reconstruct the artist's early career in a great detail, making this intriguing figure more real. Eva Margarethe Schweinfurth was the twelfth child of a wealthy Riga wine merchant, and her initial progress was similar to that of many other women artists of her class: Elise Jung-Stilling's Art School in Riga, drawing instructor's certificate from the St. Petersburg Imperial Academy of Art and several inspiring study years abroad, in Paris (1898, 1900 or 1901) and Munich (1901). Beside portraits, nudes, landscapes and interiors in oil, pastel, watercolour, various drawing materials and printing techniques, her first exhibitions included fantastic compositions suggesting a possible further development toward the fairy-land Symbolism of her future husband Bernhard Borchert's (1863-1945) work. In 1902 they married, and Eva Margarethe soon found her own true vocation in portraiture. Contemporary opinions about her mostly large-scale pastels and oil paintings of stately women images ranged from sheer admiration to resentment and rage. In about 1905-1910 Borchert-Schweinfurth visualised the spirit of modem womanhood in greatly impressive combinations of imposing attitudes with the 'vertical stripe manner', her bold Neo-Impressionist brushwork that marked the culmination of her creativity.

ESTETYKA WOBEC FEMINIZMU

72%

Dziamski G.

DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu

2018

vol. 25

40-66

Aesthetics Against Feminism When we talk today about women’s art, we think about three phemonena, quite loosely related. We think about feminist art, about the way that the feminist’s statements and demands were expressed in the creativity of Judy Chicago and Nancy Spero, Carolee Scheemann and Valie Export, Miriam Schapiro and Mary Kelly, and in Poland in the creativity of Maria Pinińska-Bereś, Natalia LL or Ewa Partum. We think about female art, the forgotten, abandoned, neglected artists brought back to memory by the feminists with thousands of exhibitions and reinterpretations. Lastly, we think about the art created by women – women’s art. However, we do not know and will never know, whether the latter two phenomena would develop without the feminist movement. What is more, it is about the first wave of feminism called “the equality feminism”, as well as the dominating in the second wave – “the difference feminism”. The feminist art was in the beginning a critique of the patriarchal world of art. In a sense it remains as such (see: the Guerilla Girls), yet today we are more interested in the feminist deconstruction of thinking about art, and thus the question arises: should feminism create its own aesthetics – the feminist aesthetics, or should it develop the gender aesthetics, and as a result introduce the gender point of view to thinking about art? In this moment the androgynous feminism regains its importance, one represented by Virginia Woolf, and referring – in the theoretical layer – to Freud as read by Lucy Irigaray. Freudism, which the feminists became aware of in the 1970s, is the only philosophical movement, which assumes a dual subject, that is, in the starting point assumes the existence of two subjects – man and woman, even if the woman is defined in a purely negative way, by the deficit, as a “not a man”. Freudism replaces the Cartesian thinking subject (consciousness) by the corporeal and sexual being, and forces us to re-think the Enlightenment beginnings of the European aesthetics.

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1 DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu

1 Materiali Latvijas makslas vesturei

1 Abele K.

1 Dziamski G.

1 2018

1 2004

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A PORTRAIT OF THE ARTIST AS A YOUNG WOMAN: EVA MARGARETHE BORCHERT-SCHWEINFURTH IN THE ART LIFE OF RIGA IN THE EARLY 20TH CENTURY (Makslinieces portrets jauniba: Eva Margarete Borherte-Sveinfurte Rigas makslas dzive 20. gs. sakuma)

ESTETYKA WOBEC FEMINIZMU