esauboeck

  [This is an unedited text of a pdf, Eventually we hope to make it properly available either here or through a link]   2 The Kiinstlerehepaar: Ideal and reality Erika Esau Faced with the dilemma of finding an appropriately focused topic about German women artists of the Weimar period, I began my research quite basically, by trying to uncover the women artists who were active and who until quite recently have been so forgotten. In tracking down those that I could, I was constantly surprised to find that so many of the practising women artists were married to artists; of the 40 or so that appeared during my researches at the Archiv fiir bildende Kunst, Germanisches Nationalmu- seum, Nuremberg, more than 20 were married to artists. I If one takes into account that several of these artists - most notably Renee Sintenis and Anita Ree - were lesbians, this statistic is even more astonishing. The number of artist-couples that surfaced was so overwhelming that it seemed to be d...

  [This is an unedited text of a pdf, Eventually we hope to make it properly available either here or through a link]  Thomas Glaister and Early Australian Photography In common with research into the early photographic history of most colonial societies, attempts to learn more about the photographers who worked in nineteenth-century Australia can be an exasperating exercise. Many of these early practi- tioners arrived in Australia as immigrants from Europe or America, often intent on concealing their origins, or, more optimistically, simply wanting to establish a new life in a new country without the encumbrances of their own pasts. Despite the technical skill and the cumbersome equipment required to produce early photographic images, many new arrivals in the colony took up photography principally as a   Figure 1. Photographic portrait of T. S. Glaister, published in An Illustrated History of Sonoma County California, Chicago: Lewis Publishing, 1889. means of m...

  [This is an unedited text of a pdf, Eventually we hope to make it properly available either here or through a link]  Journal of the History of Collections, v 8, n 2, 1996, p 193 - 200.  IMPERIAL CULTURAL POLICY AND THE JAHRBUCH DER KUNSTHISTORISCHEN SAMMLUNGEN IN WIEN ERIKA ESAU In 1876, the Austrian Imperial house devised an elaborate cultural programme intended to enhance the status of the Habsburg monarchy by emphasizing its cultural achievements and artistic holdings. Part of this programme was the establishment of Das Jahrbuch der kunsthistorischen Sammlungen in Wien, a scholarly journal that would present articles on art objects within the vast imperial holdings. Now more than 100 years old, the Jahrbuch's contents embody the evolution of art-historical thought. A close reading of its volumes also gives insight into the cultural attitudes of its publishers, as well as evidence of the impact of political events on cultural policy and production. It would be no...