Table of Contents

List of Figures Acknowledgments Introduction: A New Style for a New Age? 0.1 Modern Women 0.2 The Cultural Geography of Munich around 1900 0.3 Munich – Berlin 0.4 Prince Regent Luitpold 0.5 The Term Jugendstil 0.6 Chapters Summary 1. Maker: Margarethe von Brauchitsch and the United Workshops 1.1 Introducing Margarethe von Brauchitsch 1.2 The Vereinigte Werkstätten für Kunst im Handwerk 1.3 The Kunstsalon Littauer 1896 1.4 The ‘Seventh International Art Exhibition’ at the Munich Glaspalast 1.5 The United Workshops and Margarethe von Brauchitsch 1.6 A New Direction for Embroidery 1.7 The Materiality of Margarethe von Brauchitsch’s Embroideries 1.8 Interiors and Textiles 1.9 Machine Embroidery 1.10 Embroidery and Jugendstil Historiography 1.11 Was Margarethe von Brauchitsch a Jugendstil Woman? 1.12 Relegated to the Sidelines 2. Activists: The Elvira Photography Studio and Munich Feminist Politics 2.1 August Endell’s First Commission 2.2 August Endell and Munich Jugendstil 2.3 The Building and Its Facade 2.4 The Interior 2.5 The Patrons: Antia Augspurg and Sophia Goudstikker 2.6 Studio Photography in Munich around 1900 2.7 The Photo-Studio Elvira and Munich’s Women’s Movement 2.8 The Association for Women’s Interests (1894) 2.9 Going their Separate Ways 2.10 Jugendstil Experimentation and Political Advocacy 2.11 Postscript 3. Students: Education Women at the Debschitz School 3.1 The Debschitz School at Dresden 3.2 Hermann Obrist (1862-1927) 3.3 Wilhelm von Debschitz (1871-1948) 3.4 The Lehr- und Versuchsatelier für Angewandte und Freie Kunst 3.5 The Curriculum 3.6 Women at the Debschitz School 3.7 Art and Design Education in Munich around 1900 3.8 The Royal Applied Arts School (1868) 3.9 The weibliche Abteilung at the Royal School of Applied Arts (1872) 3.10 The Munich Women Artists’ Association and its Frauenakademie 3.11 Women at the Debschitz School 3.12 Emilie Butters (1879-1961) 3.13 Modernism’s Paradox 4. Patron: Fashionable Taste at Elsa Bruckmann’s Salon 4.1 Elsa Bruckmann (1865-1946) 4.2 Munich-Vienna: The Todesco Palais 4.3 Marrying into a Publishing Empire 4.4 The Bruckmanns’ New Headquarters 4.5 Munich-Glasgow: The Dining Room 4.6 Munich-London: Hermann and Anna Muthesius 4.7 Elsa Bruckmann’s Debut as Salonnière 4.8 A Brief History of Salon Culture 4.9 The Mackintosh Dining Room-cum-Salon 4.10 Salon Culture and Gender 4.11 Elsa Bruckmann’s ‘Enhanced Independence’ 5. Reformers: Dressing the Part 5.1 What is Artistic Dress? 5.2 Künstlerkleider and German Dress Reform 5.3 Dress and Function 5.4 Fashion/Anti-Fashion 5.5 Maria van de Velde and Alfred Mohrbutter 5.6 Artistic Dress and Jugendstil Interiors 5.7 Health and Beauty 5.8 German Life Reform 5.9 Dress Reform and Germany’s Women’s Movement 5.10 Jugendstil Women and Dress Reform 5.11 Anna Muthesius and Else Oppler 5.12 Artistic Dress and the Department Store 5.13 The Kaufhaus Oberpollinger and the Warenhaus Hermann Tietz 5.14 Shopping Conclusion Bibliography Index

Promotional Information

Examines the diverse cultural contributions of women to the production, dissemination and consumption of 'Jugendstil' (German art nouveau) art and design between 1897 and 1918.

About the Author

Sabine Wieber is a Lecturer in History of Art at the University of Glasgow, UK.

Reviews

Discussing many actors not widely known outside specialist circles, Sabine Wieber demonstrates the important roles women played not only in questions of design and creative practice, but also in social and political reforms, feminism, and education...The structure of the book is well-conceived to consider the broader categories beyond artist or designer, allowing Wieber to weave a narrative around complex social and political questions without falling into tropes of design icons or individual hagiographies.
*Journal of Design History*

This book goes beyond an exercise in writing forgotten women back into the history of the Jugendstil movement. Sabine Wieber explores the complex reality of women's design practice, education, patronage and taste-making and embeds in the realities of economic survival, inter-personal relationships, legal frameworks and the persistence of gendered thinking that circumscribed their lives and implacably erased their contributions from the historical record.
*Charlotte Ashby, Associate Lecturer in Art and Design History at Birkbeck, University of London, UK*

Lucidly written and packed with groundbreaking archival research, Jugendstil Women and the Making of Modern Design is a revolutionary investigation of a foundational but often misunderstood modernist movement. Sabine Wieber restores a range of essential yet largely forgotten female figures to a breathtakingly new history of Jugendstil art, craft, interior design, and fashion as well as its diverse manifestations in pedagogy, patronage and activism.
*Elizabeth Otto, Professor of Modern and Contemporary Art, The University at Buffalo, State University of New York, USA*

In this groundbreaking book, Sabine Wieber offers a much-needed corrective to male-centered narratives of Jugendstil. In detailed case studies that elaborate women’s contributions as designers, makers, teachers, patrons, activists and salonnierès to a distinctly German variant of Art Nouveau, she both illuminates the important and very diverse roles that women played in the inception of this modern style and demonstrates the varied ways in which they used it to secure a place of increased personal, socio-economic and political power in the late German Empire. Historically and geographically specific to turn-of-the-century Munich, Jugendstil Women and the Making of Modern Design is a must-read revisionist history of modernism that does not simply supplement the narrative with women but questions the underlying structures of its historiography.
*Maria Makela, Professor Emerita of Visual Studies, California College of the Arts, USA*