Camilla Smith - Jeanne Mammen: Art Between Resistance and Conformity in Modern Germany, 1916–1950

Jeanne Mammen

Visual Cultures and German Contexts

Series Editors

Deborah Ascher Barnstone (University of Technology Sydney, Australia)

Thomas O. Haakenson (California College of the Arts, USA)

Visual Cultures and German Contexts publishes innovative research into visual culture in Germany, Switzerland and Austria, as well as in diasporic linguistic and cultural communities outside of these geographic, historical, and political borders.

The series invites scholarship by academics, curators, architects, artists, and designers across all media forms and time periods. It engages with traditional methods in visual culture analysis as well as inventive interdisciplinary approaches. It seeks to encourage a dialogue among scholars in traditional disciplines with those pursuing innovative interdisciplinary and intermedial research. Of particular interest are provocative perspectives on archival materials, original scholarship on emerging and established creative visual fields, investigations into time-based forms of aesthetic expression, and new readings of history through the lens of visual culture. The series offers a much-needed venue for expanding how we engage with the field of Visual Culture in general.

Proposals for monographs, edited volumes, and outstanding research studies are welcome, by established as well as emerging writers from a wide range of comparative, theoretical and methodological perspectives.

Advisory Board

Donna West Brett, University of Sydney, Australia

Charlotte Klonk, Humboldt Universitt Berlin, Germany

Nina Lbbren, Anglia Ruskin University, UK

Maria Makela, California College of the Arts, USA

Patrizia C. McBride, Cornell University, USA

Rick McCormick, University of Minnesota, USA

Elizabeth Otto, University at Buffalo SUNY, USA

Kathryn Starkey, Stanford University, USA

Annette F. Timm, University of Calgary, Canada

James A. van Dyke, University of Missouri, USA

Titles in the Series

Art and Resistance in Germany, edited by Deborah Ascher Barnstone and Elizabeth Otto

Bauhaus Bodies: Gender, Sexuality, and Body Culture in Modernisms Legendary Art School, edited by Elizabeth Otto and Patrick Rssler

Berlin Contemporary: Architecture and Politics after 1990, by Julia Walker

Photofascism: Photography, Film, and Exhibition Culture in 1930s Germany and Italy, by Vanessa Rocco

Single People and Mass Housing in Germany, 18501930: (No) Home Away from Home, by Erin Eckhold Sassin

In memory of Anja Ritzen

Jeanne Mammen

Art between Resistance and Conformity in Modern Germany, 19161950

Camilla Smith

I am immensely grateful to many people and institutions for the interest and enthusiasm they have shown in my research relating to this project. I would like to thank Francesca Berry, John Buck, John Klapper, William J. Dodd, Elizabeth LEstrange, Nina Lbbren, Maria Makela, Jennifer Powell, Dorothy Price, David James Prickett, Frederic J. Schwartz, Jill Suzanne Smith, Michael Tymkiew, Adelheid Rasche and Shearer West. Conversations with Annelie Ltgens and the thought-provoking Jeanne Mammen retrospective, held at the Berlinische Galerie in 201718, helped shape my thinking about the artist. The invitation to contribute a catalogue essay for this retrospective proved invaluable to the books development.

I wish also to express my gratitude to Philip Gorki and colleagues at the Berlinische Galerie for supporting archival work and to staff at the Kunstbibliothek, Berlin. Jennifer Augustyniak, Lynette Roth, Frank Schmidt and Dorothea Schne, whom I have contacted regarding image research and Anka Krhnke, Franziska Kubick, Susanne Scharl and Margot Schmidt, who have permitted me to reproduce works here, also deserve thanks. My deep gratitude to Martina Weinland and Robert Wein at the Jeanne-Mammen-Stiftung im Stadtmuseum Berlin, for their support of this project and Barbara Roosen at VG Bild-Kunst for arranging permissions.

Completion of this book manuscript was generously supported by a Marie Sklodowska-Curie COFUND Fellowship. During this period of leave in 201819, the Max-Weber-Kolleg at the University of Erfurt, Germany, welcomed me as a visiting research fellow, and I enjoyed the rigorous, collegiate environment among researchers there. My thanks go to Matteo Bortolini, Kerstin Brckweh, Tiziana Faitini and Martina Roesner, for their careful reading of my work. My colleagues in the Department of Art History, Curating and Visual Studies at the University of Birmingham have always provided a stimulating and encouraging space to develop ideas, for which I am immensely grateful. I would like to thank Jutta Vinzent for the invaluable discussions on art and migration.

I wish to express deep gratitude to the anonymous reviewers, whose incisive and detailed comments helped in revisions to the final draft. I am grateful to April Peake and Yvonne Thouroude at Bloomsbury for their handling of the books production and to the series editors Deborah Ascher Barnstone and Thomas O. Haakenson.

My warm thanks to friends Martin Harvey, Myriam Lutz and Familie Zeides, for always making my visits to Berlin beyond the archive so much fun. And I should like to thank my parents, Bryan and Janette, and the most important boys in my life, Dylan and Maxim, for their unending support and patience.

My interest in Jeanne Mammen began back in 2009. Cornelia Pastelak-Price introduced me to her studio apartment on Kurfrstendamm and took the time to show me this unique space. I am humbled by her tireless commitment and unwavering support of this project and others over the years. Our conversations have been a source of inspiration and my ideas have benefited immeasurably from her thoughtful critique and careful reading of my work. I cannot express my thanks enough.

Arguments from was published in Camilla Smith, Sex Sells! Wolfgang Gurlitt, Erotic Print Culture and Women Artists in the Weimar Republic, in Art History 42, no. 4 (2019): 780806. I would like to thank the respective publishers for allowing me to include this work in the present volume in revised form.

The project has received funding from the European UnionsFramework Programme for Research and Innovation Horizon 2020, under the Marie Sklodowska-Curie Grant Agreement No. 66595.

For all artworks by Jeanne Mammen, VG Bild-Kunst, Bonn and DACS, London, 2021.

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