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Books > Arts & Architecture > History of art / art & design styles > 1800 to 1900 > Pre-Raphaelite art
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The Female Secession - Art and the Decorative at the Viennese Women’s Academy (Hardcover)
Loot Price: R2,268
Discovery Miles 22 680
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The Female Secession - Art and the Decorative at the Viennese Women’s Academy (Hardcover)
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Decorative handcrafts are commonly associated with traditional
femininity and unthreatening docility. However, the artists
connected with interwar Vienna’s “female Secession” created
craft-based artworks that may be understood as sites of feminist
resistance. In this book, historian Megan Brandow-Faller tells the
story of how these artists disrupted long-established boundaries by
working to dislodge fixed oppositions between “art” and
“craft,” “decorative” and “profound,” and
“masculine” and “feminine” in art. Tracing the history of
the women’s art movement in Secessionist Vienna—from its
origins in 1897, at the Women’s Academy, to the Association of
Austrian Women Artists and its radical offshoot, the Wiener
Frauenkunst—Brandow-Faller tells the compelling story of a
movement that reclaimed the stereotypes attached to the idea of
Frauenkunst, or women’s art. She shows how generational struggles
and diverging artistic philosophies of art, craft, and design drove
the conservative and radical wings of Austria’s women’s art
movement apart and explores the ways female artists and craftswomen
reinterpreted and extended the Klimt Group’s ideas in the
interwar years. Brandow-Faller draws a direct connection to the
themes that impelled the better-known explosion of feminist art in
1970s America. In this provocative story of a Viennese modernism
that never disavowed its ornamental, decorative roots, she gives
careful attention to key primary sources, including photographs and
reviews of early twentieth-century exhibitions and archival records
of school curricula and personnel. Engagingly written and featuring
more than eighty representative illustrations, The Female Secession
recaptures the radical potential of what Fanny Harlfinger-Zakucka
referred to as “works from women’s hands.” It will appeal to
art historians working in the decorative arts and modernism as well
as historians of Secession-era Vienna and gender history.
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