Art History

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In this paper the author examines the confluences of mystical, theosophical and symbolist aesthetics in the context of the “Fellowship of the Nine” in Corfu at the beginning of the twentieth century. In particular the paper focuses on the collaboration between the writer Konstantinos Theotokis and the engraver Markos Zavitzianos, whose etchings depict scenes from Theotokis’ novels, reflecting at the same time their political and cultural background. Although the earlier work of Zavitzianos shows direct influences from socialism, his later engravings, in which he embraces the stylistic solutions of the Nabis and Emil Orlik, evince more complex, national-tinged traits and ultimately display a more conscious orientation towards modernity. Both Theotokis and Zavitzianos corresponded in their own way to the artistic ebullition in Europe at a time, which was fundamentally bound to the political and ideological shifts that occurred within the bosom of the Social Democratic Party in Germany.

Berlin as the youngest daughter of the businessman Gustav Oskar Mammen and his wife Ernestine Caroline Josephine Elise, née Delhaes. 1900: The Mammen family moved to the upper-class suburb of Passy in Paris. 1907: After attending the Lycée Molière, Mammen, together with her sister Adeline Marie Louise (named Mimi), began studying Fine Arts at the internationally renowned private Académie Julian, founded by the painter Rodolphe Julian in 1868. 1908 (November): Jeanne Mammen and her sister moved to Brussels. They continued their formal art training at the Académie des Beaux-Arts. Fernand Khnopff, Herman Richir and Jean Delville were among their academic teachers. 1911: After finishing their fine art studies in Paris and Brussels, Jeanne Mammen and her sister moved to Rome, where they attended the Accademia di Belle Arti di Roma and the Scuola Libera del Nudo dell'Accademia di Belle Arti di Roma. 1912: Jeanne Mammen and her sister returned to Paris where they shared a studio. Soon they moved to Brussels and established a studio there. In Paris and Brussels Jeanne Mammen captured her keen observations of urban life in numerous sketchbooks (ca. 1910-1914). Her early body of work also includes the symbolist suite comprising ca. 50 gouaches and several etchings. The motifs reveal inspiration by her passion for French literature. 2 1914: At the outbreak of World War I the German Mammen family, now regarded as enemy aliens, had to flee France; the French Government seized their assets. 1915: The family arrived in Berlin; they lived together at Motzstraße. 1920: Jeanne Mammen and her sister moved into a studio apartment at Kurfürstendamm 29, in the rear building on the fourth floor, where Jeanne Mammen

It is a topos that the manifold heterodox religious movements that have been spreading throughout Europe in the late 19th century paved the way for the abandonment of representational painting by virtue of providing a reconsideration of traditional thought systems as well as a reorientation of established values. The leading proponents of these subversive ideas often sought to direct and regulate artistic production through various ways. In this context, Rudolf Steiner’s dynamic interaction with young artists who came to attend his lectures offers an interesting paradigm that stands in sharp contrast to other practices followed by more traditional scholarly simulated lectures. After 1907, by weaving together esoteric Christianity with Goethe’s colour theory and projecting them into an art historical narrative, Steiner denounced the mainstream theosophical doctrine, spread by Annie Besant, and was ready to express contemporary preoccupations regarding the importance of colour in the reinvention of artistic practice. Both a transmitter of ideas and an eclectic recipient of contemporary artistic discourses, Steiner urged young artists to engage with specific art-theory discourses and interfered in the artistic production by commissioning art works or by providing instructions for them.

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