Paula Modersohn-Becker Museum
paula modersohn becker museum worpswede
paula modersohn becker museum direktor
paula modersohn-becker museum
paula modersohn becker museum bremen germany
paula modersohn becker paintings
Der Paula Modersohn-Becker Steg in Bremen
Paula Modersohn-Becker war eine deutsche Malerin!
Art and Nature
K-rûte: Paula Modersohn Becker
Yn Museum Belvédère iepenet sneon in tentoanstelling fan it wurk fan de Dútske skilder Paula Modersohn Becker.
Sy libbe om 1900 hinne en har ekspresjonistyske wurk wie in grutte ynspiraasjeboarne foar in soad skilders. Douwe Talma reizge foar de K-Rûte ôf nei it doarpke Worpswede, krekt boppe Bremen. Doe in keunstnerskoloanje dêr't Paula in grut part fan har koarte libben oan it wurk wie, want se ferstoar yn 1907, yn de âldens fan 31 jier.
Paula Modersohn-Becker - Geschichte einer Malerin
Paula Modersohn-Becker
Geschichte einer Malerin,
Dokudrama, Regie: Wilfried Hauke,
Radio Bremen 2007,
Aufnahme: NDR 14.10.2007,
Der Autor und Regisseur Dr. Wilfried Hauke hat zwei Jahre am Drehbuch für diesen Film gearbeitet. Eigentlich sei er gar kein Paula-Fan gewesen, sagt er, aber die Biographie dieser mutigen Frau um 1900 habe ihn dann fasziniert. Nun wird an Originalschauplätzen in Worpswede, Bremen und Paris über insgesamt 25 Tage das Leben der berühmten Malerin verfilmt. Die Person der Paula spielt Verena Güntner, ihre Freundin Clara Rilke-Westhoff wird von Franziska Schubert dargestellt. Beide Schauspielerinnen stehen auch am Bremer Theater auf der Bühne. Die Figur des Otto Modersohn wird von Christoph Jacobi von der Bremer Shakespeare Company verkörpert.
Ergänzt werden die Spielszenen, die auf Tagebuchaufzeichnungen und Briefen der Paula beruhen, mit seltenem dokumentarischen Material und persönlichen Gegenständen aus dem Nachlass der Künstlerin. So entsteht ein lebendiges Bild dieser Frau, die bei ihren Künstlerfreunden oft unverstanden blieb, aber - wie man aus heutiger Sicht weiß - ihrer Zeit in ihrem ganz eigenen, von der Pariser Avantgarde der Expressionisten beeinflussten Stil weit voraus war. Der Film beleuchtet aber auch die Persönlichkeit der Malerin. Ihre innere Zerrissenheit zwischen Künstlerdasein und der Rolle als Ehefrau, ihre Sehnsucht nach dem einfachen Leben aber auch die Faszination der Großstadt Paris, ihre Beziehungen und Freundschaften und ihre unglaubliche Energie und Schaffenskraft. Mit nur 31 Jahren starb Paula Modersohn-Becker kurz nach der Geburt ihrer Tochter an einer Embolie.
Paula Modersohn-Becker 保拉·莫德索恩-貝克爾 (1876-1907) Expressionism German
tonykwk39@gmail.com
Paula Modersohn-Becker 保拉·莫德索恩-貝克爾, original name Paula Becker (born February 8, 1876, Dresden, Germany—died November 30, 1907, Worpswede), German painter who helped introduce into German art the styles of late 19th-century Post-Impressionist painters such as Paul Cézanne, Paul Gauguin, and Vincent van Gogh.
Becker was interested in art at an early age and began to study drawing in 1888, when her family moved to Bremen, Germany. Sent to England to complete her education, she attended St. John’s Wood School of Art. Upon her return to Germany, the artist trained to become a teacher and then attended (1896–98) the traditional School for Women Artists in Berlin.
In 1898, as a pupil of Fritz Mackenson, Becker joined the Worpswede school, a group of regional artists who lived at an artists’ colony near Bremen. Like many of the painters there, she created sentimental landscapes and scenes of peasant life. At Worpswede she formed a friendship with the sculptor Clara Westhoff (who later married the poet Rainer Maria Rilke), and in 1900 they traveled together to Paris, where she was influenced by the Post-Impressionist paintings of Paul Cézanne.
In 1901 the artist married Otto Modersohn, another painter at Worpswede. She spent two more periods of study in Paris in 1903 and 1905, and the contemporary art she discovered there made her increasingly dissatisfied with the aims of the Worpswede artists. The work of Cézanne, Gauguin, and other French artists, such as those of the Nabis group, inspired her to use simplified forms and symbolic, rather than naturalistic, colour. She left her husband in 1906 to settle in Paris, where she painted the expressive and often nude self-portraits that are her most highly regarded works. Her husband followed her there later that year, and she returned to Worpswede with him in 1907.
Modersohn-Becker’s style continued to evolve; in her mature paintings, such as Self-Portrait with a Camellia (1907), she combined a lyrical naturalism with broad areas of simplified colour reminiscent of Gauguin and Cézanne. Because she was more interested in the expression of her inner feelings than in an accurate portrayal of reality, she is frequently associated with the Expressionist style. She died shortly after giving birth to her only child.
Paula Modersohn-Becker A pioneer of modern art in Europe and the first woman to paint a full-length nude self-portrait, Paula Modersohn-Becker favored simple forms and complex textures created by scratching into sculpted paint on canvas. Modersohn-Becker trained under Fritz Mackensen in the Worpswede artists’ colony, alongside artists such as Heinrich Vogeler and novelist Rainer Maria Rilke. Her unique visual language—a synthesis of post-impressionist styles balancing French formalism with a German aesthetic—is marked by humanistic representations of local villagers. Drawn to the vibrant Parisian art culture, Modersohn-Becker was influenced by artists like Paul Cézanne and Paul Gauguin, as well as by classical painting. Modersohn-Becker’s nude self-portrait, painted just prior to her death, had no precedent—male or female—and celebrated the female body in a straightforward, unembellished manner.
German, 1876–1907, Dresden, Germany, based in Bremen and Paris
保拉·莫德索恩-貝克爾（德語：Paula Modersohn-Becker，1876年2月8日－1907年11月21日）是一位德國畫家，也是早期表現主義的重要代表人物之一。在她31歲的短暫一生中，創作了許多具有突破性的作品。
保拉·貝克爾父母家 1888年-1899年
保拉·貝克爾在德累斯頓出生和長大。她在家裏七個孩子中排第三。她的父親是一位俄羅斯大學教授的兒子，在德國鐵路工作。母親來自一個貴族家庭。
2007年11月保拉逝世100周年時她以前在不萊梅的房子被改造成保拉·莫德索恩-貝克爾公共博物館。
Paula Modersohn-Becker (1876-1907) - Part V - Works painted between 1900 and 1907.
Paula Modersohn-Becker (8 February 1876-30 November 1907) was a German painter and one of the most important representatives of early expressionism. Her brief career was cut short when she died from postpartum embolism at the age of 31. She is becoming recognized as the first female painter to paint nude self-portraits. She was an important member of the artistic movement of modernism at the start of the twentieth century.
Becker was born and grew up in Dresden-Friedrichstadt. She was the third of seven children in her family. Her father Carl Woldemar Becker (January 31, 1841 Odessa – November 30, 1901, Bremen), the son of a Russian university professor of French, was employed as an engineer with the German railway. Her mother, Mathilde (November 3, 1852 Lübeck – January 22, 1926 Bremen) was from an aristocratic family von Bültzingslöwen, and her parents provided their children a cultured and intellectual household environment.
In 1888 the family moved from Dresden to Bremen. While visiting a maternal aunt in London, Becker received her first instruction in drawing at St John's Wood Art School. In 1893 she was introduced to works of the artists' circle of Worpswede; Otto Modersohn, Fritz Mackensen, Fritz Overbeck and Heinrich Vogeler presented their paintings in Bremen's Art Museum, Kunsthalle Bremen. In addition to her teacher training in Bremen in 1893–1895, Becker received private instruction in painting. In 1896 she participated in a course for painting and drawing sponsored by the Verein der Berliner Künstlerinnen (Union of Berlin Female Artists) which offered art studies to women.
Becker's friend Clara Westhoff left Bremen in early 1899 to study in Paris. By December of that year, Becker followed her there, and in 1900 she studied at the Académie Colarossi in the Latin Quarter.
In April 1900 the great Centennial Exhibition was held in Paris. On this occasion Fritz Overbeck and his wife, along with Otto Modersohn, arrived in June. Modersohn's ailing wife Helen had been left in Worpswede and died during his trip to Paris. With this news Modersohn and the Overbecks rushed back to Germany.
In 1901 Paula married Otto Modersohn and became stepmother to Otto's two-year-old daughter, Elsbeth Modersohn, the child from his first marriage. She functioned in that capacity for two years, then relocated to Paris again in 1903. She and Modersohn lived mostly apart from that time forward until 1907, when she returned to Germany full-time, apparently in hopes of conceiving her own child.
The marriage with Modersohn remained unconsummated until their final year together. By 1906, Becker (now known as Paula Modersohn-Becker) had reversed her previous desire to avoid having children and began an affair with a well-known Parisian ladies' man. However, by early 1907 she returned to her husband, became pregnant, and in November she delivered a daughter, Mathilde.
After the pregnancy, she complained of severe leg pain, so the physician ordered bed rest. After 18 days he told her to get up and begin moving, but apparently, an embolism had formed in her leg, and with her mobility, broke off and then caused her death within hours.
Text & images:
Art Project works
Category:Google_Art_Project_works_by_Paula_Modersohn-Becker
Music:
Tender Steps by Martijn de Boer (NiGiD) (c) copyright 2017
Licensed under a Creative Commons
Attribution Noncommercial (3.0) license.
Ft: Javolenus
Paula Modersohn Becker: A collection of 149 works (HD)
BOOKS about Paula Modersohn Becker:
[1] BEING HERE IS EVERYTHING - THE LIFE OF PAULA MODERSOHN-BECKER by Marie Darrieussecq ---
[2] PAULA MODERSOHN-BECKER : THE FIRST MODERN WOMAN ARTIST by Diane Radycki ---
---
In order for the LEARNFROMMASTERS project to continue its activity,
YOUR KIND SUPPORT IS REQUIRED:
PATREON:
PAYPAL:
---
Paula Modersohn Becker: A collection of 149 works (HD)
Description: Paula Modersohn-Becker, whose career was cut tragically short by her death at 31, was one of the boldest German artists of her epoch. She ranged far beyond the regional nature portrayals of her Worpswede colleagues and anticipated the international artistic developments of the 20th century. Her absolute devotion to her art completely contradicted the norms of feminine behavior of her time; but this “egoistic” determination and self-assertion were the keys to her character and her incredible artistic achievements. She recognized at an early age that “false altruism distracts from one’s great goal.” Her great goal was her creative work: “…I will become something yet. How great or how small I can’t myself say, but it will be something complete in itself. This unswerving racing toward the goal, that’s the most beautiful thing in life.”
Paula Becker was the third daughter out of seven children in a family that provided emotional security and confidence. When she was only 16 she received instruction in drawing in Bremen and London. After getting training to teach she was allowed to continue her artistic career in Berlin. Relatives also supported her first stays in Worpswede and, in 1900, in Paris.
In Worpswede she studied with Fritz Mackensen and became friends with the sculptor Clara Westhoff. The painter Otto Modersohn, 11 years her senior, recognized and encouraged Paulas talent. They married in April 1901, and he financed her further visits to Paris (1902, 1905 and 1906-07), where she gained important new stimuli for her artistic development in the works of van Gogh, Cézanne and Matisse.
Her last Paris stay, however, also represented an attempt to free herself from what had become a suffocating marriage, and brought with it an extremely productive phase of creativity in which she pushed forward into a new territory of powerful, simple self-portraits and mother-child paintings: “I am becoming something – I am living the intensely happiest time of my life.” But in the end she gave in to the pressures of her husband, for she did not see how she could earn a living herself. “The main thing is: quiet for my work, and that I have most at the side of Otto Modersohn.” (Letter to Clara.) In the spring of 1907 she returned to Worpswede with her husband. In November, after the birth of a daughter, Paula Modersohn-Becker died of an embolism.
---
SUBSCRIBE: youtube.com/c/LearnFromMasters?sub_confirmation=1
Facebook:
Instagram:
Contact: LearnFromMasters01@gmail.com
LIST OF ARTISTS already posted on LearnFromMasters:
---
Thank you so much for your support!
#LearnFromMasters #GermanPainter #ExpressionistMovement #OnlineArtGallery #CollectionOfWorks #ArtHistory #FemaleArtist #PaulaModersohnBecker
Paula Modersohn Becker. Das Lilienatelier
Paula Modersohn-Becker. KUNST und LEBEN ist eine Kooperation der Museen Böttcherstraße und der Worpsweder Museen.
Paula Modersohn-Becker (1876-1907) Post-Impressionist painters
Paula Modersohn-Becker (1876-1907) Post-Impressionist painters
Paula Modersohn-Becker, original name Paula Becker (born February 8, 1876, Dresden, Germany—died November 30, 1907, Worpswede) German painter who helped introduce into German art the styles of late 19th-century Post-Impressionist painters such as Paul Cézanne, Paul Gauguin, and Vincent van Gogh.
Becker was interested in art at an early age and began to study drawing in 1888, when her family moved to Bremen, Germany. Sent to England to complete her education, she attended St. John’s Wood School of Art. Upon her return to Germany, the artist trained to become a teacher and then attended (1896–98) the traditional School for Women Artists in Berlin.
In 1898, as a pupil of Fritz Mackenson, Becker joined the Worpswede school, a group of regional artists who lived at an artists’ colony near Bremen. Like many of the painters there, she created sentimental landscapes and scenes of peasant life. At Worpswede she formed a friendship with the sculptor Clara Westhoff (who later married the poet Rainer Maria Rilke), and in 1900 they traveled together to Paris, where she was influenced by the Post-Impressionist paintings of Paul Cézanne.
In 1901 the artist married Otto Modersohn, another painter at Worpswede. She spent two more periods of study in Paris in 1903 and 1905, and the contemporary art she discovered there made her increasingly dissatisfied with the aims of the Worpswede artists. The work of Cézanne, Gauguin, and other French artists, such as those of the Nabis group, inspired her to use simplified forms and symbolic, rather than naturalistic, colour. She left her husband in 1906 to settle in Paris, where she painted the expressive and often nude self-portraits that are her most highly regarded works. Her husband followed her there later that year, and she returned to Worpswede with him in 1907.
Modersohn-Becker’s style continued to evolve; in her mature paintings, such as Self-Portrait with a Camellia (1907), she combined a lyrical naturalism with broad areas of simplified colour reminiscent of Gauguin and Cézanne. Because she was more interested in the expression of her inner feelings than in an accurate portrayal of reality, she is frequently associated with the Expressionist style. She died shortly after giving birth to her only child.
保拉·莫德索恩-貝克爾（德語：Paula Modersohn-Becker，1876年2月8日－1907年11月21日）是一位德國畫家，也是早期表現主義的重要代表人物之一。在她31歲的短暫一生中，創作了許多具有突破性的作品。
保拉·貝克爾在德累斯頓出生和長大。她在家裏七個孩子中排第三。她的父親是一位俄羅斯大學教授的兒子，在德國鐵路工作。母親來自一個貴族家庭。
2007年11月保拉逝世100周年時她以前在不來梅的房子被改造成保拉·莫德索恩-貝克爾公共博物館。
藝苑掇英 Paula Modersohn-Becker 保勒·莫德松-貝克爾 (1876-1907) Expressionism German
tonykwk39@gmail.com
Paula Modersohn-Becker raised in Bremen, Paula Becker was born into a cultured family that was a member of artistic circles and allowed the young Paula to devote herself to her early love of painting. After her first drawing classes in London, she attended private courses given by the painter Bernhard Wiegandt in Bremen while also studying teacher-training, for which she was awarded her certificate. In 1896 she went to Berlin to study at the Zeichen und Malschule des Vereins der Künstlerinnen und Kunstfreudinnen (“School of Drawing and Painting of the Association of Women Artists and Art Lovers”). This private institution created in 1867 offered Paula Becker high-quality training from such teachers as Käthe Kollwitz and the portraitist Jeanna Bauck (1840–1926). In 1898 she moved to Worpswede where a colony of artists had existed since 1889 on the model of the Barbizon School. Here she made friends with several artists: Heinrich Vogeler, Otto Modersohn (whom she would marry), and Clara Westhoff (1878–1954, the future wife of the poet Rainer Maria Rilke). With these fellow-students she studied under the landscape artist Fritz Mackensen, who was influenced by the art of Gustave Courbet. This rural community gave Becker and Westhoff the opportunity to shrug off the heavy social conventions of the city. Like the others, Becker chose motifs of the surrounding country life for her first paintings, while also attempting to go beyond anecdotal compositions or genre scenes and reach the essence of things. She differed from her colleagues at Worpswede on account of her wish for simplification and her combination of a certain primitivism of form with her primitivism of subjects.
During her first trip to Paris, in 1900 in the company of Clara Westhoff, she attended painting courses at the Académie Colarossi and visited museums, Salons and galleries. She returned to Paris in 1903 and again two years later. In 1906 she became pregnant but died shortly after giving birth to her daughter Mathilde. Initially, Modersohn-Becker worked closely with her husband, who, like many German artists at the turn of the century, rejected the modernist movements taking place in Paris was attempted a return to the spirit of German art by eulogizing nature. With reference to the tradition of Northern European painting, her art developed towards ever-greater simplification of form. Several of her works – portraits of country-people and nudes – have similarities with the painting of Bruegel and Lucas Cranach. She was one of the first German artists to appreciate the innovations of the early 20th-century art movements. After discovering the Nabis in 1900, she became an ardent enthusiast of the painting of Paul Gauguin and Paul Cézanne as from 1903. Probably under the influence of the latter, her still-lifes of fruit and flowers, which she already included in her compositions as symbols of fertility, became a distinct genre in her production. Her compositions were uncluttered and of great formal simplicity, and she progressively introduced purer colours that she applied in flat tints. The last two years of her life, which followed her 1905 visit to Paris, were her most productive and led to a style that embraced all her influences but which remained highly personal due to the power of its expression. Her portraits of children are notable for their absence of all sentimentality and idealization. Her last self-portraits initiated a completely new genre, that of the female nude self-portrait. In Selbstbildnis als Halbakt mit Bernsteinkette(Nude Self-Portrait with an Amber Necklace, Paula Modersohn-Becker Museum, Bremen, 1906), she distils the influences of ancient German art and Paul Gauguin. Today she is considered a harbinger of expressionism through the power of her compositions though she was completely ignored during her lifetime. First known of publicly due to her diaries, which were published for the first time in 1917, she has only gradually achieved recognition outside Germany and its satellites.
保勒·莫德松-貝克爾 Paula Modersohn-Becker在不來梅長大，Paula Becker出生於一個文化家庭，是藝術界的一員，讓年輕的Paula致力於她對繪畫的早期熱愛。在倫敦的第一次繪畫課程之後，她參加了不萊梅畫家Bernhard Wiegandt的私人課程，同時還學習了教師培訓，並獲得了她的證書。 1896年，她前往柏林，在藝術家和藝術愛好者協會的繪畫和繪畫學院學習。這個私立學院於1867年創立，為KätheKollwitz和肖像畫家Jeanna Bauck（1840-1926）等老師提供了Paula Becker的高質量培訓。 1898年，她搬到Worpswede，自1889年以來，在巴比松學校的模型中，一群藝術家就已經存在。在這裡，她與幾位藝術家交朋友：Heinrich Vogeler，Otto Modersohn（她將與誰結婚）和Clara Westhoff（1878-1954，詩人Rainer Maria Rilke的未來妻子）。在這些同學的幫助下，她在景觀藝術家弗里茨·麥肯森（Fritz Mackensen）的指導下學習，他受古斯塔夫·庫爾貝（Gustave Courbet）藝術的影響。這個農村社區讓Becker和Westhoff有機會擺脫城市繁重的社會習俗。與其他人一樣，貝克爾為她的第一幅畫作選擇了周圍鄉村生活的主題，同時也試圖超越軼事作品或流派場景，達到事物的本質。她不同於Worpswede的同事，因為她希望簡化，並將某種形式的原始主義與她的原始主題相結合。
Modersohn Becker Paula 莫德松·貝克爾·保拉 (1876-1907) Expressionism German
tonykwk39@gmail.com
Modersohn Becker Paula (1876-1907 - A pioneer of modern art in Europe and the first woman to paint a full-length nude self-portrait, Paula Modersohn-Becker favored simple forms and complex textures created by scratching into sculpted paint on canvas. Modersohn-Becker trained under Fritz Mackensen in the Worpswede artists’ colony, alongside artists such as Heinrich Vogeler and novelist Rainer Maria Rilke. Her unique visual language—a synthesis of post-impressionist styles balancing French formalism with a German aesthetic—is marked by humanistic representations of local villagers. Drawn to the vibrant Parisian art culture, Modersohn-Becker was influenced by artists like Paul Cézanne and Paul Gauguin, as well as by classical painting. Modersohn-Becker’s nude self-portrait, painted just prior to her death, had no precedent—male or female—and celebrated the female body in a straightforward, unembellished manner.
German, 1876–1907, Dresden, Germany, based in Bremen and Paris
莫德松·貝克爾保拉(1876-1907 - 現代藝術在歐洲的第一個女人畫全長裸體自畫像的先鋒，保拉·莫德松 - 貝克爾青睞刮傷到畫布上雕刻的油漆創建簡單的形式和複雜的紋理。莫德松 - 貝克爾在沃爾普斯韋德藝術家的殖民地下弗里茨馬肯森的訓練，旁邊的藝術家，如海因里希·博赫爾勒和小說家里爾克。她獨特的視覺語言的一個的後印象派風格的綜合平衡形式主義法國與德國的審美，是由當地村民的人文表示標記。吸引到充滿活力的巴黎藝術文化，莫德松 - 貝克爾是由像保羅·塞尚和保羅·高更，藝術家以及由古典繪畫的影響。莫德松 - 貝克爾的裸體自畫像，在她去世之前畫，這是史無前例的，男性或女性，並以簡單，unembellished的方式慶祝了女性的身體。
德國，1876年至1907年，德國德累斯頓，總部設在不來梅和巴黎
保拉·莫德索恩-貝克爾（德語：Paula Modersohn-Becker，1876年2月8日－1907年11月21日）是一位德國畫家，也是早期表現主義的重要代表人物之一。在她31歲的短暫一生中，創作了許多具有突破性的作品。
保拉·貝克爾在德累斯頓出生和長大。她在家裏七個孩子中排第三。她的父親是一位俄羅斯大學教授的兒子，在德國鐵路工作。母親來自一個貴族家庭。
2007年11月保拉逝世100周年時她以前在不萊梅的房子被改造成保拉·莫德索恩-貝克爾公共博物館。
Liebe am Werk - Paula Becker & Otto Modersohn
Liebe am Werk - Paula Becker & Otto Modersohn
Doku F 2018 von Delphine Deloget
Aufnahme: ARTE 21.04.2019
Im Deutschland des frühen 20. Jahrhunderts verhilft der Maler Otto Modersohn seiner zweiten Frau zu der Anerkennung, die ihr gebührt – heute gilt sie als eine der bedeutendsten Vertreterinnen der Moderne: Paula Modersohn-Becker. Es ist die Geschichte einer Liebe zwischen den Qualen des künstlerischen Schaffens – und überschattet von der Ahnung des nahenden Todes.
Paula lebt nördlich von Bremen in einer erstaunlichen Gemeinschaft. Sie besteht aus jungen, komplexfreien und neugierigen Malern, Bildhauern und Dichtern, die im Dorf Worpswede eine Künstlerkolonie gegründet haben. Es ist eine fröhliche Truppe, die den Tumult der Industriestädte hinter sich gelassen hat, um die Landschaft mit einer unverfälschten Malerei in freier Natur zu erobern. Dazu gehört auch ein Künstler, der Paulas besonderes Interesse weckt: der Maler Otto Modersohn, der einer der Mitbegründer der Kolonie ist.
Otto ist ebenfalls angetan von der jungen Frau, die so gar nicht typisch für ihre Zeit ist: unabhängig und vor allem überaus sensibel. Drei Monate nach dem Tuberkulose-Tod von Ottos Ehefrau Helene gestehen sich Paula und Otto endlich einander ihre Liebe. Am 25. Mai 1901 heiraten sie. Otto beginnt unter Paulas Einfluss, Menschen zu malen. Er sucht nach einem natürlicheren Stil, erweitert die Palette seiner Farben. Sie beginnt Landschaften zu malen und signiert mit den Anfangsbuchstaben ihres neuen Namens: PMB – Paula Modersohn-Becker. Allein im Jahr 1906 malt sie 80 Bilder, die sich in ihrem Atelier stapeln, darunter 20 Selbstbildnisse. So auch eines ihrer größten Werke: „Selbstbildnis am sechsten Hochzeitstag“. Paula malt die moderne Vision der Frau und befreit sich von den Sehweisen ihrer Epoche. Am 2. November 1907 bringt sie bei einer schweren Geburt ein Mädchen zur Welt, Mathilde. Wenige Tage später stirbt die 31-Jährige an einer Lungenembolie. 1927 wird in Bremen eigens für sie ein Museum gebaut, das weltweit erste, das einer weiblichen Künstlerin gewidmet ist.
Mit meinen Augen - Die Selbstbildnisse der Paula Modersohn-Becker
Mit meinen Augen - Die Selbstbildnisse der Paula Modersohn-Becker
Film von Wilfried Hauke,
Radio Bremen 2007,
Aufnahme: ARTE 08.08.2010
Paula Modersohn-Beckers (1876-1907) Anliegen als Malerin war immer nur auf die Kunst gerichtet, vor allem bei ihren faszinierenden Selbstportraits, die bei diesem Film im Zentrum stehen. Mit geradezu nüchterner Sachlichkeit nahm sie sich selbst als Modell, um etwas auszudrücken, das über ihre eigene Persönlichkeit hinausging. Wenn sie sich malte, dann sollte dies ohne Pathos sein, ohne menschelnde Anteilnahme, fern vom Augenblick des Sentiments. Nicht das psychologische Ich darzustellen war ihr wichtig, nicht die Selbsterkundung, sondern die Darstellung des So seins. Der Mensch sollte – auch in ihrer eigenen Gestalt – als etwas Bleibendes, in sich Geschlossenes, Kreatürliches in Ganzheit erscheinen.
Artists Tribute Six: Paula Modersohn-Becker
I created this video with the YouTube Video Editor (
Paula Modersohn-Becker. Geschichte einer Malerin
Der Film erzählt die melodramatische Geschichte der Malerin Paula Modersohn-Becker mit einem überzeugenden Ensemble junger Bremer Schauspieler. Mit aufwändigen Spielsszenen an den Originalschauplätzen in Worpswede und in Paris sowie mit Gemälden, dokumentarischen Fotos aus dem Nachlass und historischem Filmmaterial wird die die kurze Lebens- und Schaffenszeit einer großartigen Künstlerin spannend und informativ nacherzählt.
Modersohn-Becker Paula 莫德松-貝克·爾保 (1876-1907) Expressionism German
tonykwk39@gmail.com
Paula Modersohn-Becker, original name Paula Becker (born February 8, 1876, Dresden, Germany—died November 30, 1907, Worpswede), German painter who helped introduce into German art the styles of late 19th-century Post-Impressionist painters such as Paul Cézanne, Paul Gauguin, and Vincent van Gogh.
Becker was interested in art at an early age and began to study drawing in 1888, when her family moved to Bremen, Germany. Sent to England to complete her education, she attended St. John’s Wood School of Art. Upon her return to Germany, the artist trained to become a teacher and then attended (1896–98) the traditional School for Women Artists in Berlin.
In 1898, as a pupil of Fritz Mackenson, Becker joined the Worpswede school, a group of regional artists who lived at an artists’ colony near Bremen. Like many of the painters there, she created sentimental landscapes and scenes of peasant life. At Worpswede she formed a friendship with the sculptor Clara Westhoff (who later married the poet Rainer Maria Rilke), and in 1900 they traveled together to Paris, where she was influenced by the Post-Impressionist paintings of Paul Cézanne.
In 1901 the artist married Otto Modersohn, another painter at Worpswede. She spent two more periods of study in Paris in 1903 and 1905, and the contemporary art she discovered there made her increasingly dissatisfied with the aims of the Worpswede artists. The work of Cézanne, Gauguin, and other French artists, such as those of the Nabis group, inspired her to use simplified forms and symbolic, rather than naturalistic, colour. She left her husband in 1906 to settle in Paris, where she painted the expressive and often nude self-portraits that are her most highly regarded works. Her husband followed her there later that year, and she returned to Worpswede with him in 1907.
Modersohn-Becker’s style continued to evolve; in her mature paintings, such as Self-Portrait with a Camellia (1907), she combined a lyrical naturalism with broad areas of simplified colour reminiscent of Gauguin and Cézanne. Because she was more interested in the expression of her inner feelings than in an accurate portrayal of reality, she is frequently associated with the Expressionist style. She died shortly after giving birth to her only child.
保拉·莫德松 - 貝克爾，原名叫保拉·貝克爾（生於1876年2月8日，德國德累斯頓，死於1907年11月30日，沃爾普斯韋德），德國畫家誰幫助引進德國藝術風格的19世紀後期的後印象派畫家如保羅·塞尚，保羅高更和梵高。
貝克爾是自幼對藝術感興趣，並開始學習繪畫在1888年，當她的家人搬到德國不來梅。送到英國完成她的學業，她參加了St.藝術約翰的木頭學校。在她的回歸到德國，訓練有素的藝術家，成為一名教師，然後出席了（1896年至1898年）的女藝術家在柏林傳統的學校。
1898年，作為弗里茨Mackenson的學生，貝克爾加入沃爾普斯韋德學校，一群誰住在藝術家的不來梅附近的殖民地地區的藝術家。像許多畫家那裡，她創造了感傷的風景和農民生活的場景。在沃爾普斯韋德，她形成了與雕塑家克拉拉Westhoff的（誰後來嫁給詩人里爾克）友誼，並於1900年，他們一起走過巴黎，在那裡她被保羅·塞尚的後印象派繪畫的影響。
1901年，藝術家結婚奧托·莫德索恩，另一位畫家在沃爾普斯韋德。她花了在巴黎學習的兩個時期在1903年和1905年，以及當代藝術，她在那裡發現了她與沃爾普斯韋德藝術家的目標越來越不滿。塞尚，高更和其他法國藝術家，如那些納比派組的工作，啟發她用簡單的形式和象徵性的，而不是自然，色彩。她離開她的丈夫於1906年在巴黎，在那裡她畫的表現力和經常裸體自畫像是她最推崇的作品定居。她的丈夫那年跟著她那裡後，她又回到1907年與他沃爾普斯韋德。
莫德松 - 貝克爾的風格繼續發展;在她的繪畫成熟，如自畫像與山茶（1907年），她結合簡單的色彩讓人聯想到高更和塞尚的廣泛領域抒情自然。因為她比在現實的準確描述更感興趣的是她內心情感的表達，她經常與表現主義風格有關。她生下了她唯一的孩子後不久死亡。
Otto Modersohn Museum Tecklenburg
Am 22. Oktober 2015 wurde das OMMT durch die Enkelin Antje Modersohn eröffnet. Ein sehenswertes Kleinod.
Paula Modersohn-Becker: Selbstbildnisse | Kulturjournal | NDR
Zeit ihres Lebens war Paula Modersohn-Becker auf der Suche nach ihrem wahren Ich. Insgesamt 60 Mal porträtierte sie sich. Diese Werke sind nun erstmals in einer eigenen Ausstellung zu sehen.
paula modersohn-becker. der weg in die moderne
paula modersohn-becker - exposition paula modersohn becker. in seinem biopic über paula modersohn-becker erzählt christian schwochow die lebensgeschichte einer der bedeutendsten malerinnen des expressionismus... expertengespräch emil nolde trifft paula modersohn-becker.
see the google doodle for paula modersohn-becker’s 142nd birthday at . l : où marie darrieussecq tente de dire pourquoi elle a écrit une vie de paula modershon becker à l'occasion de la parution de être ici est une splendeur. frank schmidt (museen böttcherstraße) geben in einem kurzen dialog einblicke in die erste gegenüberstellung von emil nolde und paula modersohn-becker bis zum 29. read more details about paula modersohn-becker at .
los catorce cortos años durante los cuales paula modersohn-becker ejerció su arte le permitieron realizar al menos setecientos cincuenta lienzos de pintura trece estampas y cerca de un millar de dibujos.
Paula Modersohn-Becker und Clara Rilke-Westhoff -- „...einen anderen Weg
Planung und Umsetzung eines 50-minütigen kunsthistorischen Dokumentarfilmes über Paula Modersohn-Becker und Clara Rilke-Westhoff.