Verein der Berliner Künstlerinnen (Association of Berlin Women Artists) was founded in 1867 at a time when women had no official role in politics and only limited representation. [FIG. 1, 2] Furthermore, women were denied access to public art schools such as the Preußische Akademie der Künste (Prussian Academy of Arts). The association was created to offer woman access to a systematic art education and functioned as an art school at a high level.
The association was the first of its kind in Germany and the second in Europe. It was founded by artists as well as the artists’ friends who acted as sponsors of women in the arts, such as Johanna Arnhold (1859–1929), a prominent collector and patron of the arts. [FIG. 3]
Important artists such as Käthe Kollwitz [FIG. 4] and Paula Modersohn-Becker taught or studied in the association. Despite the underappreciation of female artists at the time, retrospectively, the association can be seen as the counterpart of the Preußische Akademie der Künste (Prussian Academy of Arts) for women.
Women had the opportunity to work as independent artists as the association offered financial support and low-cost education. Furthermore, women were able to organise themselves and stand up for women's rights. The association initiated broad initiatives on feminism and motherhood, which are themes that found expression in the artistic practices of the members.
On top of that, it became popular for its legendary women-only costume parties, which up to 3000 people attended. [FIGS. 5-7]
1919 was a turning point for the association. With the end of the monarchy in Germany women gained access to public art schools. The association found a new direction, where art classes still took place, but a focus was now put on exhibitions. Artists such as Hannah Höch, [FIG. 8] Jeanne Mammen [FIG. 9] and Renée Sintenis were now among the members or participated in exhibitions. The reflection on gender roles and identity was part of their artistic practice and made visible in the 1929 Frau von heute [‘Woman of today’] exhibition [FIG. 10]. On the walls paintings by Martel Schwichtenberg [FIG. 11] and Ima Breusing [FIG. 12] were displayed, among others.
The seizure of power of the Nazis in 1933 brought incisive changes with the government trying to control the art sector through the newly created Reichskammer der Bildenden Künste.
The spring exhibition in March 1933 was attacked in the Völkischer Beobachter, the newspaper of the Nazi Party:
‘In the beautiful, unfortunately almost empty studio house on Schöneberger Ufer, the “Association of Berlin Women Artists” has opened its spring exhibition. The glory is housed in two small rooms, and the quality is just as meagre as the participation. With vanishing exceptions, the spirit of the [Alfred] ‘Flechtheims’ is represented.’
What followed was a gradual takeover by the Reichskammer der Bildenden Künste of the association, which was dependent on now-dwindling funding, and was put under financial pressure culminating in the sale of the clubhouse in 1935. Prior to financial cuts and the loss of their building, the statutes of the association were amended to exclude Jewish board members like Fanny Remak in 1933 and became exclusive for members of the Reichskammer der Bildenden Künste. In 1937 the association was incorporated into the Reichskammer der Bildenden Künste. [FIG. 13]
Jewish artists like Lotte Laserstein [FIG. 14] fled Germany or like Clara Arnheim were deported and killed in the Theresienstadt ghetto-camp — both were excluded from the association in the 1930s. Other artists who were original members of the association have complex and contradictory biographies, such as Marg (Margarethe) Moll who was made chairwoman of the new board in 1943 and was a member of the Reichskammer der bildenden Künste despite the confiscation of her artworks [FIG. 15] in 1937 from the Museum Breslau considered as ‘degenerate art’. [FIG. 16]
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1919 was a turning point for the association. With the end of the monarchy in Germany women gained access to public art schools. The association found a new direction, where art classes still took place, but a focus was now put on exhibitions. Artists such as Hannah Höch, [FIG. 8] Jeanne Mammen [FIG. 9] and Renée Sintenis were now among the members or participated in exhibitions. The reflection on gender roles and identity was part of their artistic practice and made visible in the 1929 Frau von heute [‘Woman of today’] exhibition [FIG. 10]. On the walls paintings by Martel Schwichtenberg [FIG. 11] and Ima Breusing [FIG. 12] were displayed, among others.
The seizure of power of the Nazis in 1933 brought incisive changes with the government trying to control the art sector through the newly created Reichskammer der Bildenden Künste.
The spring exhibition in March 1933 was attacked in the Völkischer Beobachter, the newspaper of the Nazi Party:
‘In the beautiful, unfortunately almost empty studio house on Schöneberger Ufer, the “Association of Berlin Women Artists” has opened its spring exhibition. The glory is housed in two small rooms, and the quality is just as meagre as the participation. With vanishing exceptions, the spirit of the [Alfred] ‘Flechtheims’ is represented.’
What followed was a gradual takeover by the Reichskammer der Bildenden Künste of the association, which was dependent on now-dwindling funding, and was put under financial pressure culminating in the sale of the clubhouse in 1935. Prior to financial cuts and the loss of their building, the statutes of the association were amended to exclude Jewish board members like Fanny Remak in 1933 and became exclusive for members of the Reichskammer der Bildenden Künste. In 1937 the association was incorporated into the Reichskammer der Bildenden Künste. [FIG. 13]
Jewish artists like Lotte Laserstein [FIG. 14] fled Germany or like Clara Arnheim were deported and killed in the Theresienstadt ghetto-camp — both were excluded from the association in the 1930s. Other artists who were original members of the association have complex and contradictory biographies, such as Marg (Margarethe) Moll who was made chairwoman of the new board in 1943 and was a member of the Reichskammer der bildenden Künste despite the confiscation of her artworks [FIG. 15] in 1937 from the Museum Breslau considered as ‘degenerate art’. [FIG. 16]
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Related addresses: Schöneberger Ufer 38 until May 1935 (Architect: Heinrich Schweitzer); Schöneberger Ufer 71
Related addresses: Schöneberger Ufer 38 until May 1935 (Architect: Heinrich Schweitzer); Schöneberger Ufer 71
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Related addresses: Schöneberger Ufer 38 until May 1935 (Architect: Heinrich Schweitzer); Schöneberger Ufer 71
Budapester Strasse (1932) not identical with today’s Budapester Strasse; Lützowstrasse 32 I (October 1925–1930); Königin-Augusta-Strasse 22 (October 1930–1932) - in 1933 this street becomes Tirpitzufer 84 and in 1947 it was renamed to Reichpietschufer. Lützowufer 19a (November 1932–1937), since 1933: Galerie Nierendorf; Großadmiral-von-Koester-Ufer 65 (1935–1947), Schöneberger Ufer.
Potsdamer Strasse 134c (Mid-Oct 1918-Sept 1924); Schöneberger Ufer 38 (July 1927-1931); Großadmiral-von-Koester-Ufer 39 respectively (since 1936) Großadmiral-von-Koester-Ufer 73 (1935-1939);Kluckstrasse 12 (May 1939 –Dec 1949)
Employee and partner at the Galerie / Kunstsalon Paul Cassirer
Related addresses: Street partially still exists as Hitzigallee.
Related addresses: Koenigin-Augusta-Strasse 46, in 1933 becomes Tirpitzufer 84, in 1947 becomes Reichpietschufer. Her last address in Berlin before deportation to Theresienstadt Bleibtreustrasse 17.
ALL BUILDINGS ARE DESTROYED
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Henry van de Velde (1894-1943), designer of the interior of the reading room at the gallery Paul Cassirer, Victoria Strasse 35.
(Street and building are destroyed)
Related addresses: Reichskammer der Bildenden Künste, Government agency 1933-1945; Blumes Hof 4-6 (since June 1934; street and building are destroyed; today's postcode 10785), Derfflingerstrasse 7 (from October 1935 until March 1937), Ahornstrasse 2 (1938). Today's postcode 10785
