In the late 19th century, artists began using exaggeration and caricature to highlight the grotesque, bizarre and absurd qualities of thefemme fatalemotif, suggesting that the traditional image of the wickedly seductive enchantress had become redundant. Als Zeichen des Dankes fr diese grozgige Untersttzung heit das 2. 18 Sat11:00 Familienzeit Limited Availability Find tickets Mar 18 LISTING OF ALL AUSTRALIAN ARTISTS AND EXHIBITIONS THAT HAVE APPEARED ON THE ARCHIVE AT THIS LINK, LISTING OF ALL INTERNATIONAL ARTISTS AND EXHIBITIONS THAT HAVE APPEARED ON THE ARCHIVE AT THIS LINK, Marcus Bunyan black and white archive: 'Orphans and small groups' 1994-96 Part 2. Other female artists reimagine the mythological figures who were long depicted asfemmes fatales, presenting them, as Francesca Woodman did, in subtly restaged scenarios; depicting them as powerful goddesses as seen, for example, in the works of Mary Beth Edelson; or, like Sylvia Sleigh, situating them outside the boundary of binary gender. Beyond exploring a range of artistic approaches to the theme from the early 19th century to the present, the show aims to critically examine the myth of thefemme fatale in its genesis and historical transformation. (Text from the Hamburger Kunsthalle website). A person may be Black and a woman, hence experiences racism and sexism. 1940) In the clean girl look hair is also straight, usually tied into a tight braid or chignon. John and Salome Her subjects included Josephine Baker, Coco Chanel, Tamara de Lempicka, Alban Berg, Maurice Chevalier, Colette, and other dancers, actors, painters, and writers. But what is behind all this and who is the trend actually for? A cult of female actors, dancers and artists emerged, above all in cities such as Paris, Vienna and Berlin. She symbolizes a visually coded female stereotype: the sensual, erotic and seductive woman whose allegedly demonic nature reveals itself in her ability to lure and enchant men often leading to fatal results. Circe offering the cup to Ulysses Influenced by Romanticism, Bcklins symbolist use of imagery derived from mythology and legend often overlapped with the aesthetic of the Pre-Raphaelites. 1914 Medium: Oil on canvas Dimensions: 56 1/2 x 24 1/2 in. Albertina, Vienna. The Education & Outreach programme is significantly supported by Frst Bismarck Quelle. When she opened the Atelier dOra on Wipplingerstrasse in Vienna in 1907, Benda became her assistant. In diesem Bild vereinten sich ber Jahrhunderte Ansichten, die mit dem gegenwrtigen Verstndnis von einer freien und gleichberechtigten Gesellschaft wenig zu tun haben. Characteristic of the femme fatale figure is the demonization of female sexuality associated with these narratives. His father, also named Carl Strathmann, was a merchant and manufacturer, who later served as consul in Chile. Lovis Corinths stage-like scenario shows a dramatically made-up, bare-breasted Salome bending over the head of John the Baptist. In contrast to the enigmatic dream worlds of French and Belgian Symbolism, the depictions offemmes fatalesby artists of the Munich School focus more explicitly on womens bodies. The Atelier dOra specialised in portrait and fashion photography. Gaze - Power - Gender. Thiswhite, Victorian ideal of femininity and beauty, along with its (re-)presentation in a museum context, is reflected by Sonia Boyce in her video installationSix Acts. Francesca Woodman (American, 1958-1981) (143.5 x 62.2 cm) Classification: Paintings Credit Line: Bequest of Alexander M. Bing, 1959 Accession Number: 60.19.1 Learn more about this artwork Rodin, Redon, Renoir: Selecting Paintings for Rodin at The Met Einige Werke wurden schon an den Wnden angebracht. 32.8 x 27.7cm The capital B emphasises social-political positioning within a society principally dominated by white people. Jean Delville (Belgian, 1867-1953) Im Rahmen der Ausstellung wurde von der Hamburger Kunsthalle gemeinsam mit der Wstenrot Stiftung als Kooperationspartner ein Chatbot fr Jugendliche entwickelt. But men too can be restricted by patriarchal gender stereotypes such as boys dont cry or men dont know about babies.. In 1921, Arthur Benda became a partner in Atelier dOra, which also ran a branch in Karlovy Vary during the season. The test focuses on the stereotyping of women in film has only three rules: 1. In der Serie nutzt sie fotografische Selbstdarstellungen als emanzipatorisches Mittel und schafft zugleich ein Identifikationsangebot fr andere. Ebenso bietet die Hamburger Kunsthalle zum ersten Mal Audiodeskriptionen an. The peak of renown was reached when Madame dOra photographed the present nobility in 1916 on the occasion of the coronation of Emperor Charles I as King of Hungary. 23 Exhibition: 'Femme Fatale: Gaze - Power - Gender' at the Hamburger Kunsthalle, Hamburg By Dr Marcus Bunyan Leave a Comment I have added further images and bibliographic information about the artists to the posting. Dante Gabriel Rossetti (1828-1882) 1891 Wir sind bestrebt, die Art und Weise zu hinterfragen, wie wir ber Kunst und unsere Sammlung sprechen. Die Lureley Bertsch and his team are at pains to point out the contemporary significance of the femme fatale, even as we are more than a hundred years away from Waterhouses Circe and Hylas. Livestreams von Kurator*innengesprchen gibt es erstmalig ein Chatbot Modul, mit dem Besucher*innen in einen Dialog mit sechs Femme fatale-Figuren aus den Kunstwerken der Ausstellung treten knnen. We are committed to questioning the way we talk about and present art and our collection. Fascinated by womens physical allure, Rossetti here imagines a legendary femme fatale as a self-absorbed nineteenth-century beauty who combs her hair and seductively exposes her shoulders. Datenschutz /Impressum /Hausordnung, press_release_femme_fatale_gaze_power_gender.pdf. Oil on canvas The femme fatale is a myth, a projection, a construction. The term was coined by feminist film theorist Laura Mulvey who in the 1970s drew attention to how women in films were mostly portrayed as objects catering to the fantasies of heterosexual males. Albertina Wien The ESSL Collection This Eurocentric ideal of beauty can already be detected in the nineteenth-century work Lady Lilith by Dante Gabriel Rossetti. Wir freuen uns sehr ber die hervorragende Kooperation mit der Hamburger Kunsthalle, die nicht nur mit einem Chatbot belohnt wurde, sondern auch zur Vielfalt von Lsungsanstzen beitrgt, mit denen kulturelles Erbe neu erlebt werden kann.. Anti-Semitic prejudices often refer to categories such as wealth and power, sexuality or external characteristics. Gender describes the social, lived, perceived sex of a person. The snake encircles her body in several coils, starting around its closely spaced ankles, past the knee, to her lower abdomen, where it thereby conceals. Bitte beachten Sie folgenden Hinweis. Many of his paintings are based on authors such as Homer, Ovid, Shakespeare, Tennyson, or Keats. 1992 Strange coincidence, isnt it? English translation: Matthew Burbridge, Hamburger Kunsthalle Reservierung im THE CUBE unter Tel. Hoffman and Hanns Heinz Ewers. Salome, who features prominently in the New Testament, albeit without being named, became famous for a dance: she danced so impressively and seductively at a feast that her powerful stepfather Herod assured her that he would grant her any wish in return. Nd (51.3 x 44cm) On the 4th Thurs-day of each month, a Salon fatal will dedicate itself to socially relevant topics that tie into the exhibition such as sexuality and the construction of beauty ideals. Hamburger Kunsthalle, bis zum 10. Carl Strathmann, Salammb, on the Dark Classics website 12/05/2011 [Online] Cited 01/03/2023, Arnold Bcklin (Swiss, 1827-1901) Gustav Adolf Mossa (French, 1883-1971) In Jenevieve Akens work, for example, the super femme fatale is a positively connoted, liberated (identificatory) figure who defies the constraints of a patriarchal society. Only the posture of the nude, who is reduced to her physicality and sensuality, recalls a sphinx. Resting as a form of resistance is thus understood as a counter-movement and a radical Copyright 2016 Hamburger Kunsthalle. When it comes to the idealisation of femininity, nearly everything conceivable in Christian societies comes together in the image of the Madonna figure. 2016 Swathed in veils whose design is as complex as that of the harp beside her head, she submits to the kiss of the mighty snake that encircles her. Passers-by had public access for thirty seconds at a time during which they were allowed to touch her breasts. Highlights include Gustave Moreaus major Symbolist workOedipus and the Sphinx (1864), Edvard Munchs painting Vampire in the Forest (1916-1918), Sonia Boyces much-discussed video installation Six Acts (2018), and NanGoldins recent video works Sirens (20192021) and Salome (2019). 124.3 135.3cm Max Liebermann (German, 1847-1935) Under this belief, the physical world we live in becomes the land of Satan, and those without a spiritual goal become merely his slaves. By valuing the desires of the male audience, the male gaze supports the self-objectification of women. Die Publikation ist zum Preis von 39 Euro im Museumsshop oder ber www.freunde-der-kunsthalle.de zum Buchhandelspreis von 50 Euro erhltlich. The Kunsthalle is setting out to deconstruct this clich by critically examining the image of the femme fatale and countering it with a feminist gaze. Their depictions above all featured female figures to whom destructive or even fatal qualities had traditionally been attributed, such as Lilith, Medea, Circe and Helen of Troy. This exhibition at the Hamburger Kunsthalle (9 December-10 April 2023) considers how the trope of the femme fatale has been represented in art from the early 19th century to the present day. Deren Ruf als Femme fatale wird jedoch besonders durch Oskar Kokoschka geprgt, der sie in einer Affre obsessiv begehrt und zugleich als verhngnisvoll stilisiert - eine Dmonisierung, . Supported by: Freunde der Kunsthalle, Ernst von Siemens Kunststiftung, Rudolf August Oetker Stiftung, Philipp Otto Runge Stiftung, Behrde fr Kultur und Medien Hamburg, Herbert-Plmplin-Stiftung. Lovis Corinth described how Strathmann, while working on the large picture, gradually covered the originally nude model with carpets and fantastic garments of his own invention so that in the end only a mystical profile and the fingers of one hand protruded from a jumble of embellished textiles. Jahrhundert bis in die Gegenwart nach, sondern mchte zugleich den Mythos der Femme fatale in seiner Genese und historischen Transformation kritisch beleuchten. This is why we are so pleased to support the ground-breaking education and outreach programme for the FEMME FATALE exhibition., Mediapartners: Hamburger Abendblatt, arte. Breastfeeding in public is taboo. With this exhibition and the diverse supporting programme, the Kunsthalle is once again underscoring its aim to address issues that our relevant to our society., Dr. Ekkehard Nmann, Chairman of the Board of the Freunde der Kunsthalle e.V. Untitled, 1975-1980 Such areas of breath are needed to examine the myth of the femme fatale. In Fernand Khnopffs subtle drawings, the femme fataleappears as a mysterious, ambiguous projection, addressing the themes of stereotypical femininity and androgyny. At the beginning of the 20th century, the role models for depicting the femme fatale changed. Aber Moment mal! With its epoch-spanning exhibits, Femme fatale encourages viewers to reflect on changing images of women and how those images are (de)constructed., Board of the Philipp Otto Runge Foundation: Jenevieve Akens work The Masked Woman represents a multi-layered update of the femme fatale figure. White Supremacy is the ideology that white people, and all their ideas, actions and opinions are superior to those of BIPoC. Oedipus and the Sphinx As the epitome of the clich of female mystery, the sphinx is a prominent motif in Symbolist art. Orientalism has been typified by rejection and attraction alike: the people and customs of the region are portrayed as irrational, lazy and dishonest just as much as sensual, pleasure-oriented and seductive. However, his wish for a doll that was as lifelike as possible was not fulfilled the result disappointed him greatly. Both works create new self-designations and show how extensive and multi-layered Black female identities are. Gender is an English term, but is also used in German, precisely when it comes to social characteristics and gender identity. The figure of Lorelei, in particular, was widely and diversely interpreted in numerous works of art, music and literature. Waterhouses Circe offering the cup to Ulysses (1891) is typical of the eroticism in the work of some 19th-centurymale artists. Three-colour print on paper #2/25 Among the paintings, drawings, prints, photographs, sculptures, installations and video works on view are a wealth of high-ranking international loans as well as major works from the collection of the Hamburger Kunsthalle. There can be no non-binary gaze for the sole reason that it would not classify living beings into different sexes, would not categorise them. This kind of sexualization in images offemmes fatales often involves constructing a supposed otherness of the depicted subject. Today, most people are aware that there is no such thing as different human races. Women looking at themselves (narcissistically) in the mirror in paintings are meant to prove the vanity of the female sex. Its a matter of choice: whether its a long or short skirt, bra or not everyone decides for themselves. It is this likewise dazzling and clichd image, long dominated by a male and binary gaze, that is in the focus of the exhibitionFemme Fatale. 1882 The image of the New Woman was omnipresent in illustrated womens magazines and satirical journals of the time. A large 1867 replica of Lady Lilith, painted by Rossetti in watercolour, which shows the face of Cornforth, is now owned by New Yorks Metropolitan Museum of Art. When recipients of state benefits are depicted as unwilling to work and unintelligent, this is an example of classism. These are often performed by queer men. The movie has to have at least two women in it, Lovis Corinth, Max Liebermann, douard Manet, Max Slevogt), des Expressionismus und der Neuen Sachlichkeit (u.a. Many thankx to the Hamburger Kunsthalle for allowing me to publish the photographs in the posting. The image of this malevolent creature a hybrid of woman, lion and bird was strongly influenced by Gustave Moreaus Oedipus and the Sphinx, an important early work by the painter. With this look, young women want to represent themselves as so-called girl bosses, meaning women who have everything under control. 1892-1893, Aubrey Beardsley (British, 1872-1898) What role does it still play today? ppettider Hamburger Kunsthalle. 1893, Edvard Munch (Norwegian, 1863-1944) This is documented by a photo series in the exhibition. Please click on the photographs for a larger version of the image. 1928 Racism can take on many forms for example anti- Muslim, anti-Black, or anti-Asian racism, that particularly targets these groups. Highlights sind unter anderem Gustave Moreaus symbolistisches Hauptwerk dipus und die Sphinx (1864), Edvard Munchs Gemlde Vampir im Wald (19161918), Sonia Boyces vieldiskutierte Videoinstallation Six Acts (2018) sowie Nan Goldins aktuelle Videoarbeiten Sirens (20192021) und Salome (2019). Munchs painting Madonna illustrates the contradictory aspects of his image of women: the depicted subject can be interpreted as a lustful femme fatale or as a saintly figure. The scandal made him immediately famous. On display are paintings by Pre-Raphaelite artists (Evelyn de Morgan, Dante Gabriel Rossetti, John William Waterhouse) as well as works of Symbolism (Fernand Khnopff, Gustave Moreau, Franz von Stuck), Impressionism (Lovis Corinth, Max Liebermann), Expressionism and New Objectivity (Dodo, Oskar Kokoschka, Jeanne Mammen, Edvard Munch, Gerda Wegener).