The Memory Factory: The Forgotten Women Artists of Vienna 1900
(eBook)

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Published
Purdue University Press, 2012.
Status
Available Online

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Format
eBook
Language
English
ISBN
9781612492032

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APA Citation, 7th Edition (style guide)

Julie M. Johnson., & Julie M. Johnson|AUTHOR. (2012). The Memory Factory: The Forgotten Women Artists of Vienna 1900 . Purdue University Press.

Chicago / Turabian - Author Date Citation, 17th Edition (style guide)

Julie M. Johnson and Julie M. Johnson|AUTHOR. 2012. The Memory Factory: The Forgotten Women Artists of Vienna 1900. Purdue University Press.

Chicago / Turabian - Humanities (Notes and Bibliography) Citation, 17th Edition (style guide)

Julie M. Johnson and Julie M. Johnson|AUTHOR. The Memory Factory: The Forgotten Women Artists of Vienna 1900 Purdue University Press, 2012.

MLA Citation, 9th Edition (style guide)

Julie M. Johnson, and Julie M. Johnson|AUTHOR. The Memory Factory: The Forgotten Women Artists of Vienna 1900 Purdue University Press, 2012.

Note! Citations contain only title, author, edition, publisher, and year published. Citations should be used as a guideline and should be double checked for accuracy. Citation formats are based on standards as of August 2021.

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Grouped Work ID537282a3-b8a0-ddb3-dbf7-aadbc0d9a578-eng
Full titlememory factory the forgotten women artists of vienna 1900
Authorjohnson julie m
Grouping Categorybook
Last Update2024-02-27 11:43:26AM
Last Indexed2024-04-20 00:48:39AM

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Image Sourcehoopla
First LoadedJan 8, 2023
Last UsedMar 6, 2024

Hoopla Extract Information

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    [synopsis] => The Memory Factory introduces an English-speaking public to the significant women artists of Vienna at the turn of the twentieth century, each chosen for her aesthetic innovations and participation in public exhibitions. These women played important public roles as exhibiting artists, both individually and in collectives, but this history has been silenced over time. Their stories show that the city of Vienna was contradictory and cosmopolitan: despite men-only policies in its main art institutions, it offered a myriad of unexpected ways for women artists to forge successful public careers. Women artists came from the provinces, Russia, and Germany to participate in its vibrant art scene. However, and especially because so many of the artists were Jewish, their contributions were actively obscured beginning in the late 1930s. Many had to flee Austria, losing their studios and lifework in the process. Some were killed in concentration camps. Along with the stories of individual women artists, the author reconstructs the history of separate women artists' associations and their exhibitions. Chapters covering the careers of Tina Blau, Elena Luksch-Makowsky, Bronica Koller, Helene Funke, and Teresa Ries (among others) point to a more integrated and cosmopolitan art world than previously thought; one where women became part of the avant-garde, accepted and even highlighted in major exhibitions at the Secession and with the Klimt group.
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