![]() ![]() In 1888 the family moved from Dresden to Bremen, where Carl Becker had obtained a position on the building board of the Prussian Railway Administration. The King was not severely injured, and Oskar was pardoned five years later for the crime (on conditon that he permanently leave the country), but the constraints of opportunity for Carl Becker's family would linger. In 1861, Oskar Becker, Carl's brother, in an unsuccessful assassination attempt, had shot King Wilhelm of Prussia in the neck. Her mother, Mathilde (1852–1926), was from the aristocratic von Bültzingslöwen family, and her parents provided their children a cultured and intellectual household environment.ĭespite these advantages of family, the Beckers found themselves in socially constrained circumstances. Her father, Carl Woldemar Becker (1841–1901), the Odessa born son of a Russian university professor of French, was employed as an engineer with the German railway. She was the third of seven children in her family. Paula Modersohn-Becker, Girl in a Garden Next to a Glass Sphere (1901-2) Paula Modersohn-Becker, Still life with Melon (1905) Museum Lugwig, Cologne, Germany Paula Modersohn-Becker, Child with Goldfish (1907)īecker was born and grew up in Dresden-Friedrichstadt. Becker family home, and residence of Paula Becker (1888–1899). Her career was cut short when she died from postpartum embolism at the age of 31.īiography Paula Becker (1892) Collection of Haus Paula Becker, Bremen Dresden-Friedrichstadt: After Paula's birth, the Becker family moved into a house in "Friedrichstraße 29" (today "Friedrichstraße 46") Paula Modersohn-Becker, Self-portrait (1897) gouache, PM-B Museum Early life Schwachhauser Heerstr. Additionally, she is considered to be the first woman artist to depict herself both pregnant and nude and pregnant. ![]() She is recognized both as the first known woman painter to paint nude self-portraits, and the first woman to have a museum devoted exclusively to her art (the Paula Modersohn-Becker Museum, founded 1927). She is considered one of the most important representatives of early expressionism, producing more than 700 paintings and over 1000 drawings during her active painting life. Her work is noted for its intensity and its blunt, unapologetic humanity, and for the many self-portraits the artist produced, including nude self-portraits. Private collection.Paula Modersohn-Becker (8 February 1876 – 20 November 1907) was a German Expressionist painter of the late 19th and early 20th century. Bertha May Ingle, Self-Portrait, around 1902, oil on canvas. ![]() ![]() With your mobile device, share your response to this groundbreaking exhibition through Twitter: follow the Agnes at #ArtistHerself. This project is funded in part by the Government of Canada. Most important, the exhibition reveals the ways in which women artists have given profound expression to their identities. Pauline Johnson, Maud Lewis, Pegi Nicol MacLeod, Hannah Maynard, Daphne Odjig, Princess Louise, Mary Hiester Reid and Marian Dale Scott. From Johnson’s performance costumes representing her dual Mohawk and Euro-Canadian identity to Carr’s painting of herself from the back at her easel, from Maynard’s playful photographs of her multiple selves to Ashoona’s sly comment on her participation in the Inuit art market, these works open up new avenues of inquiry and new understandings of the realities and perspectives of women in Canadian society before 1970. Both renowned and lesser-known artists are featured: Pitseolak Ashoona, Simone Mary Bouchard, Emily Carr, Paraskeva Clark, Martha Eetak, Artis Lane, Caroline Gros Louis, Alice Egan Hagen, Frances Anne Hopkins, E. The result is a thought-provoking selection of 55 works by 42 women artists in a range of media, including paintings, textiles, photographs and film. Spanning pre-Confederation colonialism to the cusp of second-wave feminism, The Artist Herself brings to light a rich but underexplored aspect of Canadian culture.ĭrawing upon our fascination with self-portraits, The Artist Herself expands the genre’s definition by moving beyond the human face to propose other forms of self-representation, from both settler and Indigenous perspectives. ![]()
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