STORM Women, Exhibition view, Lavinia Schulz, Insect Dancer, Large Technology, Toboggan Man (c. 1924, f.l.t.r.), Schirn Kunsthalle Frankfurt 2015 © Photo: Norbert Miguletz
Sonia Delaunay, Portuguese Market, 1915, Oil and wax-paint on canvas, 90.5 x 90.5 cm, Digital image, The Museum of Modern Art, New York/Scala, Firenze
‘Storm Women’: Women Artists of the Avant-Garde Eighteen women STURM artists representing Expressionism, Cubism, Futurism, Constructivism, and the New Objectivity are presented in an exhibition featuring around 280 works of art. Schirn Kunsthalle Frankfurt, October 30, 2015 – February 7, 2016.]]>
Source: Schirn Kunsthalle
Among the best-known artists represented in the show are Sonia Delaunay, Alexandra Exter, Natalja Goncharova, Else Lasker-Schüler, Gabriele Münter, and Marianne von Werefkin. They are joined by a number of largely unknown or less familiar artists, among them Marthe Donas, Jacoba van Heemskerck, Hilla von Rebay, Lavinia Schulz, and Maria Uhden.
Each of the eighteen women artists of the STURM are presented along with her most important works in a separate room at the exhibition. They are artists from Germany, the Netherlands, Belgium, France, Sweden, Ukraine, and Russia whose works were exhibited at the STURM gallery or published in DER STURM magazine. The writer and composer Herwarth Walden (1878−1941) exhibited works by Wassily Kandinsky, Paul Klee, Oskar Kokoschka, and Marc Chagall, the artists of Der Blaue Reiter, and the Italian Futurists, but he also actively promoted well over thirty women painters and sculptors strategically and without bias. He was regarded as a visionary and a pioneer on behalf of abstraction and modern art in general, and he united the international avant-garde with his programs. For many women artists, the STURM represented their first big chance, for in the early years of the twentieth century they were neither fully recognized by society nor did they have access to academic training comparable to that of their male colleagues. The life stories, personal circumstances, and critical reception of the eighteen women artists of the STURM are all very different, and their styles vary considerably as well. Yet viewed as a group, they represent an impressive panorama of modern art.
For this exhibition, the Schirn is presenting a selection of outstanding paintings, works on paper, prints, woodcuts, stage sets, costumes, masks, and historical photographs acquired on loan from prominent museums as well as university and private collections, including, among others, the Museum of Modern Art in New York, the Yale University Art Gallery in New Haven, the Theater Museum in St. Petersburg, the Tate and Victoria & Albert Museum in London, the Centre Pompidou in Paris, the National Museum in Belgrade, the Museo Thyssen-Bornemisza in Madrid, the Moderna Museet in Stockholm, the Städtische Galerie im Lenbachhaus in Munich, and the Von-der-Heydt-Museum in Wuppertal.
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‘Poetry of the Metropolis. The Affichistes’ at the Schirn (exhibition, 2015)
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