Den första har titeln “Friendship in Representation. The Collaborative Portraits by Jeanna Bauck and Bertha Wegmann” och är publicerad i “Journal of the International Association of Research Institutes in the History of Art”.

Bertha Wegmann, The Artist Jeanna Bauck, 1881, oil on canvas, 106 x 85 cm. Nationalmuseum, Stockholm
Bertha Wegmann, The Artist Jeanna Bauck, 1881, olja på kanvas, 106 x 85 cm. Nationalmuseum, Stockholm (Public domain)

Abstract (på engelska)

Over a quarter-century, the Scandinavian artists Jeanna Bauck and Bertha Wegmann painted a series of portraits and interiors in which they commented upon their shared identity as women artists while migrating between the artistic centers of Munich, Paris, and Copenhagen. Drawing from feminist and performance theory, and concentrating on three paintings in which Bauck and Wegmann imagine one another as emerging professional artists by mediated self-representation, the paper discusses the two artists’ collaborative practices. The artists’ correspondence with their mutual friend and colleague Hildegard Thorell, kept in the archive of Nordiska Museet in Stockholm, is presented here for the first time and provides important insights into their artistic companionship. This case study forms part of an ongoing dissertation project on Nordic women painters’ self-representations in the late nineteenth century.

Till artikeln. (extern länk)

Den andra artikeln är publicerad av det norska universitetsförlaget Idunn, och har titeln “Revisiting Asta Nørregaard in the Studio”.

Abstract (på engelska)

In 1883 Asta Nørregaard (1853–1933) created her programmatic self-portrait where she is seen working alone in her studio on the altarpiece for Gjøvik church in Norway. This article presents Nørregaard’s previously unpublished correspondence with her close friend Hildegard Thorell (1850–1930), which provides critical insights into the artist’s life in Paris, her work and studio practices. Instead of understanding the self-portrait’s contemplative spirit as expressive of a feeling of isolation in contemporary society and art circles, as put forward by previous research, this study argues for reading In the Studio as a variation on the theme of the Romantic artist as solitary genius.

Till artikeln. (extern länk)

Om Carina Rechs avhandlingsprojekt (på engelska)

Self, Other and Space. Nordic Women Painters' Self-Fashioning in the late Nineteenth Century

The purpose of my thesis is to analyze how Nordic women painters negotiate professional identity in painting during the late nineteenth century, comprising self-portraits, friendship images and studio interiors. I will discuss how artistic identity is formed and performed auto-reflexively in relation to the self, in collaboration with a colleague, and in interaction with the interior of the studio as a constitutive space for artistic professionalism. The thesis will ask which strategies did individual painters that happened to be women employ in order to identify with the profession of the artist, a profession that was coded along the lines of the trope of the male artistic genius during the period under consideration. How did women artists come to terms with a tradition from which they had largely been excluded? Which role did international networks and companionship play in developing new modes of artistic self-expression? By drawing from feminist and performance theory and by conducting a representative range of case studies, the thesis will investigate into the manifold ways by which women painters fashioned artistic identity in the closing decades of the 19th century.