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Disrupted Perspectives: Interpreting »Friends« by Hanna Hirsch-Pauli

2011; Taylor & Francis; Volume: 80; Issue: 3 Linguagem: Inglês

10.1080/00233609.2011.593718

1651-2294

Katarina Wadstein MacLeod,

Historical and Religious Studies of Rome

Click to increase image sizeClick to decrease image size Notes 1. In the context of the exhibition at Nationalmuseum 2010 the interior aspects of the painting were emphasized, so too in Hemma i Konsten, Nationalmuseum, Stockholm, 1988, pp. 152–154. In the most substantial study of Hanna Hirsch-Pauli's work Margareta Gynning only briefly mentions the painting and that this was a portrayal of the group of friends, Det ambivalenta perspektivet: Eva Bonnier och Hanna Hirsch-Pauli i 1880-talets konstliv, Stockholm, 1999, p. 20, see also Gynning, »Hanna Pauli«, in De drogo till Paris: Nordiska Konstnärinnor på 1880talet, Nationalmuseum, Stockholm, 1988, p. 98. The painting is also mentioned in Birgit Rausing, »Måleriet«, in Konsten 1890–1915, Lund, 2001, p. 297. In one of the more in-depth readings of this work Gunnar Broberg, »De judiska vännerna«, Tvärsnitt, No. 2, 1987, pp. 6–8, discusses the ethnicity of the Jewish members of the party, and Jennie Gunnarsen looks at the social space of the living room, »Sociability – Images of Groups in Scandinavian Painting in the Late 1800s’, in Women Painters in Scandinavia 1880–1900, eds Helle Behrndt and Jorunn Veiteberg, Copenhagen, 2002, pp. 127–133. See also Gunnel Weidel Randver, »Ett konstverk och en vänkrets«, Parnass, No. 6, 1997, pp. 5–9. 2. For a detailed account of the people in the painting see Vänner, 1900 at Nedre Manila, Bonnier's Art Collection, Stockholm and Carl G. Laurin, Minnen, Stockholm, 1931, pp. 384–506. The friends are, from the left: the artist's sister Betty Hirsch standing upright, then the actress Olga Fåhraeus, next Lisen Bonnier, and behind her Hanna Bendixon. Georg Pauli is standing next to Ellen Key on the right-hand side of the painting, then sits Carl-Otto Bonnier, and after him the artist Richard Berg with his arm around his wife Gerda Bergh. At the back of the room there is an anonymous friend, then the dean Arthur Bendixon and last the critic and author Klas Fåhraeus. 3. Kristeva, »Proust: In Search of Identity«, in The Jew in the Text: Modernity and the Construction of Identity, eds Linda Nochlin and Tamar Garb, London, 1995, p. 141. 4. Karl Asplund, »En stor porträttmålarinna: Hanna Pauli utställer i Nordiska bokhandeln«, Svenska Dagbladet, September 28, 1923. 5. Ellen Key, »Beauty in the Home« (1899), Modern Swedish Design, New York, 2008, p. 35. 6. In a catalogue for the Nationalmuseum, Stockholm the painting is described as a bourgeois interior, Hemma i konsten, Stockholm, 1986, p. 152. In an exhibition at the Nationalmuseum in 2010 the text on the wall label described the room as lightly and sparingly decorated. 7. Maurice Merleau-Ponty, »Cézanne's Doubt« (1945) in The Merleau-Ponty Aesthetics Reader, ed. Galen A. Jonson, Illinois, 1993, p. 70. 8. See further in Nils Edling, Det fosterländska hemmet, Stockholm, 1996, p. 391. For the importance of the home as a subject in art as well as politics and culture see for example Kerstin Thörn, »Hemmet som föreställning och erfarenhet: En idéhistorisk studie«, in Den vackra nyttan: Om hemslöjd i Sverige, ed. Gunilla Lundahl , Hedemora, 1999, and Elisabet Stavenow-Hidemark, »Heminredning i teori och praktik på 1870– och 80–talen«, Fataburen, Stockholm, 1984. 9. Virginia Woolf, A Room of One's Own (1929), London, 1954. 10. Margareta Gynning discusses how Hanna Hirsch-Pauli's most productive years were when she had young children (1887–1893), Det ambivalenta perspektivet: Eva Bonnier och Hanna Hirsch-Pauli i 1880–talets konstliv, Stockholm, 1999, p. 137. 11. Letter from Georg Pauli, March 15, 1887, published in Cher Monsieur-Fatala Quinna,eds Agneta Pauli et al., Stockholm, 2009, p. 39. 12. Letter from Hanna Hirsch Cher Monsieur-Fatala Quinna, pp. 39–40. 13. Cher Monsieur Fatala-Qvinna, 2009, p. 55, 68. 14. Anon, »En som kunde ha varit i tre akademier«, Idun, No. 12, 1933. 15. For the conditions of women artists and the coalition of the same at the end of the nineteenth century see further in for example Tamar Garb, Sisters of the Brush: Women's Artistic Culture in Late Nineteenth-Century Paris, London, 1994 or Griselda Pollock, »Modernity and the Spaces of Femininity«, in Vision and Difference, London, 1988. 16. Gynning, p. 195. 17. Jennie Gunnarsen, »Sociability – Images of groups in Scandinavian Painting in the late 1800s«, in Women Painters in Scandinavia 1880–1900, eds Helle Behrndt and Jorunn Veiteberg, Copenhagen, 2002, pp. 127–133. 18. Ellen Key, »Naturenliga arbetsområden för kvinnan«, in Missbrukad kvinnokraft: Kvinnopsykologi, ed. Björn Sjöwall, Stockholm, 1981. It might be worth noting that today Key's reflections on interior design seem to be fully absorbed whilst her essentialist feminism might be less easy to accept. 19. Ernst Högman, »Från ett artistbo på söder«, Idun, no. 86, 1899, p.1 , author's trans. 20. Högman, pp. 1–2. 21. James Elkins, What Painting Is, New York, 2000, p. 149. 22. Article by Georg Pauli inserted into H. Hedemann-Gade, »Hanna Hirsch-Pauli utställer«, Stockholms Dagblad, September 24, 1923. 23. Simone de Beauvoir, The Second Sex (1949), London, 1997, p. 17. 24. Cher Monsieur Fatala-Qvinna, 2009, p. 41. 25. Anon., 1933. 26. Broberg, 1987, pp. 6–8. 27. Catherine Soussloff, The Subject of Art: Portraiture and the Birth of the Modern, Durham, NC, 2006, p. 82. 28. Linda Nochlin, »Starting with the Self«, in The Jew in the Text: Modernity and the Construction of Identity, eds Linda Nochlin and Tamar Garb, London, 1995, p. 10. 29. Gale B. Murray, »Toulouse-Lautrec's Illustrations for Victor Joze and Georges Clemenceau and their Relationship to French Anti-Semitism of the 1890s«, Nochlin and Garb, 1995, p. 62. 30. Andreas Hasselgren, Utställningen i Stockholm 1897: Beskrifning i ord och bild öfver allmänna konst– och industriutställningen i Stockholm 1897, Stockholm, 1897, p. 142. author's trans. 31. Broberg p. 11. 32. Karin Altenberg, »The Art of Identity – An Introduction«, in The Art of Identity: Memory, Myth and a Feeling of Home, London, 2005, p. 9. 33. Altenberg, p. 10. 34. Tamar Garb, »Portraiture and the New Woman«, in The Body in Time: Figures of Femininity in Late Nineteenth-Century France, Seattle, 2008, p. 42. 35. Anna Lena Lindberg, »The Space of Possibilities: Hanna Hirsch Pauli's Portrayal of Venny Soldan«, in Behrndt and Veiteberg, 2002, p. 71. 36. Lindberg, 2002, pp. 65–76. 37. In Idun, 1933, Anon. talks about Hanna Pauli's greatness. 38. See for example Gynning, 1999, p. 43 for a comment on how well established the Nordic painters were in Paris and how well they kept up with the current trends. 39. Gynning, 1999, p. 262. 40. On the tensions between the construction of femininity and professional practice for women artists see for example Whitney Chadwick and Isabelle de Courtivron, eds, Significant Others: Creativity and Intimate Partnership, London, 1996. 41. Gunnarsen, 2002, pp. 127–133. 42. See also Katarina Wadstein MacLeod, »Hemmet som konstmotiv bär på sprängkraft«, Svenska Dagbladet, July 11, 2010. 43. Another childhood friend and student of Key was Emma Lamm, later wife of one of Sweden's most celebrated artists Anders Zorn, see for example Carl G. Laurin, »En riktig Människa«, Svenska Dagbladet, January 13, 1924. 44. Fatala-Quinna, p. 60.author's trans. 45. Key, 1981, p. 75. author's trans. 46. For a note on Hirsch-Pauli's unconventional treatment of compositions in her portrait, see for example Crispin Ahlström, »En omaka trio«, GöteborgsPosten, September 4, 1989. 47. Panofsky, Perspektivet som symbolisk form (1925), Stockholm 1994, trans. Sölve Olsson. 48. Joel Snyder, »Perspective as Symbolic Form'«, Art Bulletin, June 1, 1995, p. 338. 49. Allister Neher, »How Perspective Could Be a Symbolic Form«, Journal of Aesthetics and Art Criticism, Vol. 63, No. 4, 2005, p. 362. 50. Margaret Iversen, »The Discourse of Perspective in the Twentieth Century: Panofsky, Damisch, Lacan«, Oxford Art Journal, No. 2, 2005, pp. 193–202. 51. See for example the definitions by Neher, 2005. 52. Margaret Iversen, »Orthodox and Anamporphic Perspectives«, Oxford Art Journal, No .2, 1995, pp. 81–84, or Jean Laplanche and Jean-Bertrand Pontalis, The Language of Psychoanalysis (1967), London 1988, pp. 210, 440. 53. Andrea Liss, Feminist Art and the Maternal, Minneapolis, 2009, p. 24.