Review of Lotte Laserstein: Face to Face at the Städel Museum, Frankfurt

19/11/18

Lotte Laserstein: Face to Face

Städel Museum, Frankfurt
19 September 2018 – 17 March 2019

Face to face. An appropriate title for an exhibition so largely comprised of portraits – among them a large proportion of self-portraits. For, surrounded by these canvases of Lotte Laserstein (1898-1993), one feels beset by myriad pairs of eyes. She is usually categorised as an artist of Neue Sachlichkeit (New Objectivity), alongside her male contemporaries Otto Dix, George Grosz and Christian Schad, but her style is really quite different from theirs – devoid of political satire and containing far more empathy, intimacy, and, dare I say it at the risk of sounding disingenuous, femininity. 

Laserstein grew up in a very female environment, with her mother, her sister, Käte, and her aunt and grandmother, following the death of her father in 1902. Fortunately, there was enough family money for both daughters to study and Laserstein was one of the first generation of women accepted into the Berlin Art Academy, in 1921 – two large charcoal drawings of male nudes evidence that she also attended life classes while there. Bear in mind that she was painting at the same time as, for example, the artists of the expressionist group, Die Brücke, and her style might seem a little old fashioned and venerating of art history – “more academy than avant garde”, as Kolja Reichert wrote in the Frankfurter Allgemeine Sonntagszeitung (23 September 2018). One hypothesis put forward by the exhibition texts is that, belonging to this first generation of educated female artists, she lacked the rebellious streak of many of her male contemporaries, wishing instead to prove her technical ability. Vermeer, for example, was one artist she openly declared to be a great influence on her, and aspects of the Dutch master’s style can be detected, especially, perhaps, in her choice of palette.

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Review of Jeanne Mammen: The Observer. Retrospective (1910-75) at the Berlinische Galerie

17/12/17

Jeanne Mammen: The Observer. Retrospective (1910-75)

Berlinische Galerie, Berlin
6 October 2017 – 15 January 2018

Outside the sphere of art historians, Gertrud Johanna Louise Mammen, known as Jeanne, is not a well-known name – not in Germany and certainly not in the rest of the world. Yet her output was prodigious, as the current retrospective at the Berlinische Galerie amply demonstrates. She was born in Germany in 1890, but her family moved to Paris where she enjoyed a carefree and progressive upbringing (including art studies at the Académie Julian, as well as at the Académie Royale des Beaux-Arts in Brussels). In 1914, she returned to Germany and, from 1919, worked from a small fourth-floor, two-room living-quarters-cum-studio at Kurfürstendamm 29 in Berlin for more than 60 years, until her death in 1976.

During her lifetime, she gained a reputation beyond Berlin as a chronicler of life in the city, providing for herself largely by designing film posters for the then booming UFA studios and selling her illustrations to fashion and satirical magazines, including Simplicissimus, Uhu and Jugend. Especially during the 20s and 30s, when out and about, she was never without her sketchbook – several of which are included in the exhibition – capturing the goings-on in cafes, bars and on the streets. Her graphic work from this era might be likened to the new objectivity of Otto Dix or George Grosz, but whereas their works tend towards the satirical, with an underlying political critique, expressing pity or disdain for their subjects, Mammen’s drawings and watercolours, while still often employing grimace and caricature, are far more empathetic and, dare I say it, feminine, imbued with emotion, both of her own, as onlooker, and of the relationships between those depicted. The titles are often almost conversational, as, for example, You Have Beautiful Hands (c1929), depicting a chatty scene at a manicurist.

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