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Teresa Feodorowna Ries and The Witch

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Leśniak A.

Sztuka i Dokumentacja

2019

issue 21

143 - 158

The article is based on artistic research and concerns the case of Russian woman sculptor Teresa Feodorowna Ries (1866-1956), who gained the position of a prominent artist at the time of Austro-Hungarian Empire and the First Austrian Republic. In 1938 her studio was 'Aryanised' and she had to flee to Switzerland. There are three intertwining threads in the article. The first one refers to some facts from Ries's life, that seem to be significant for the conducted research. The second concerns the fate of her sculptures during and after the Second World War, with a particular focus on The Witch (Die Hexe), which, according to the surviving documents and the opinions of art restorers, has been damaged on more than one occasion, and under varying circumstances. There are also considered possible causes of this damage, which in the opinion of the author are related to the rebellious meaning of this sculpture, both in its title and in its form of artistic expression. The last thread is an explanation of the author's interest as a contemporary Polish woman artist in Teresa Ries and her Witch. The Witch by Teresa Ries is the contradiction of a consistent image through and through. Firstly, because although we see the influence of different artistic styles in the form of this sculpture and the traces of diverse cultural traditions in its allegorical layer. Secondly, because the sculpture today is damaged and some of its parts are missing. Thus The Witch, a witness of history, of political and social changes, is an accusation against the HIStory, institutions, politics towards women (artists), and antisemitism, that support patriarchal order. However, The Witch as a representation of the character of the witch in culture has an inspiring potential for political and social changes and the emancipation of minorities.

The Sulptor Teresa Feodorowna Ries and Her Private Archive

100%

Habsburg V.

Sztuka i Dokumentacja

2019

issue 21

133 - 141

The article concerns the recently found private archive of Teresa Feodorowna Ries (1866-1956) who was a famous Viennese sculptor before the World War II. After the annexation to the German Reich in 1938, Ries, who was Jewish, remained in Vienna until probably 1942. Despite the imminent danger and difficult living conditions in Vienna, she tried to organise and regulate the preservation and whereabouts of her works. Her studio in the Gartenpalais Liechtenstein was evacuated and the works expropriated. The whereabouts of many of these works are still unclear, and many are considered lost. In 2018 this private archive was offered for sale in an auction house in Monaco. Since there was no interested party, the author of this article was lucky enough to acquire it about half a year later. The private archive contains letters, documents, photographs, a diary, poems, newspaper articles, lists of artworks, the last will and testament of her mother Bertha Ries and her own, handwritten by Ries. The term ‘archive’ includes different aspects which reflect in the work of Ries in both artistic and historical perspectives. The archive, the accumulation and the collection starting from the beginning, should be transferred into the here and now. The archive, as a place for the memory, for memories and records, returns to its starting point – Vienna. With all the collected documents and gathered information it is now possible to achieve an insight into the life of the artist Teresa Feodorowna Ries, and to continue the search for missing parts and links. The fact that today the original or complete form and condition of certain sculptures can only be seen in photographs is obviously a limiting factor when writing about the artist and her work, but also raises further interesting questions: how to write about something that does not exist any longer?

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2 Sztuka i Dokumentacja

2 2019

1 Habsburg V.

1 Leśniak A.

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Teresa Feodorowna Ries and The Witch

The Sulptor Teresa Feodorowna Ries and Her Private Archive