In conversation with the guest curator
Rahel Schrohe emphasises the significant importance of the artist, who reflected the position of middle-class women in her paintings. Women artists fall into oblivion, no matter how influential and style-defining they were in their time. This was also the case with Dora Hitz (1853-1924), who stylistically and thematically represented modern painting in Berlin around 1900.
Image gallery
Dora Hitz, Pavots (auch: Mädchen im Mohnfeld), 1891, Öl auf Leinwand, 48 × 107,5 cm, Museum der bildenden Künste Leipzig, Inv.-Nr. G 891
The author, who is also guest curator of the exhibition, shows why it is worth rediscovering the artist's work and opens up a completely new perspective on Hitz: she examines her work with a focus on the relationship between femininity and space. Throughout her life, Hitz was regarded as a painter of women, as she created numerous pictures of mothers with their children and portrayed women in Berlin society.
How did Hitz reflect the position of middle-class women around 1900 and the contemporary discourses on femininity in her paintings? And to what extent did she utilise her social possibilities to take a critical look at women's limited scope for action?
About the author:
Rahel Schrohe is an art historian and curator in Berlin. She is a consultant for exhibitions at the Brandenburg Gate Foundation. She previously headed the Kunstverein KunstHaus Potsdam and worked in the curatorial team at the Fondation Beyeler in Basel.
(LECTURE IN GERMAN)
Dates
November 2024
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