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South African artist Irma Stern (1894–1966) is one of the nation's most enigmatic modern figures. Stern held conservative political positions on race even as her subjects openly challenged racism and later the apartheid regime. Using paintings, archival research, and new interviews, this book explores how Stern became South Africa's most prolific painter of Black, Jewish, and Colored (mixed-race) life while maintaining controversial positions on race. Through her art, Stern played a crucial role in both the development of modernism in South Africa and in defining modernism as a global movement. Spanning the Boer War to Nazi Germany to apartheid South Africa and into the contemporary #RhodesMustFall movement, Irma Stern's work documents important twentieth-century cultural and political moments. More than fifty years after her death, Stern's legacy challenges assumptions about race, gender roles, and religious identity and how they are represented in art history.
Introduction -- Irma Stern in a Global Context: Expressionist Influence -- Cape Town Blues: Painting South Africa -- Congo and Zanzibar -- Modernism Under Apartheid: Art and Social Context -- If Rhodes Must Fall, Must Stern Fall? Audacities of Color in Post-apartheid South Africa.
"Irma Stern grew up on a farm in Schweizer-Reneke, playing with insects in the dust and admiring the dry flowers. It was not until she was a young woman, living in Berlin, that she realized how deeply the arid landscape of her childhood had inspired in her a passion for Africa which was to reach its full expression in her art. Fighting the conventions of her day and the scorn of art critics, Irma worked hard to establish herself, travelling to exotic and remote locations to find inspiration for her art. By the time she died, her reputation as one of South Africa's most foremost artists was sealed and today her paintings are highly sought-after all over the world."--Back cover.
South African artist Irma Stern is one of the nation?s most controversial modern figures. This book explores how Stern became South Africa?s most prolific painter of black, Jewish, and coloured (mixed-race) life while maintaining a neutral position on apartheid. Spanning from the Boer War, to Nazi Germany, to apartheid South Africa, Irma Stern?s life and work document important cultural and political moments modern history.
In this wide-ranging monograph, the achievements of Irma Stern, one of South Africa's most celebrated painters, are introduced to a contemporary audience. The vivid and powerful expressionist paintings of Irma Stern were a key factor in the modernization of early 20th-century South African art. Although she was widely recognized during her lifetime, Stern's posthumous fame has dwindled outside her home country, and this beautifully produced monograph serves to correct that injustice. A master of color and composition, Stern is best known for her portraits and still lifes that reflected her passion for travel and devotion to home. Drawing from letters, journals, the artist's own illustrated travelogues as well as the latest scholarship, this volume traces Stern's childhood in South Africa and her family's flight to Germany in the wake of the South African War (1899-1902). Readers will learn of her artistic development at the center of Weimar, Germany's expressionist avant-garde, her return to her homeland and the derisive reaction to her early work, and finally her productive travels throughout the African continent and the acclaim she achieved. The book also focuses on the political and cultural forces that shaped Stern's work, including the unification of South Africa, the rise of expressionism in Germany, the competing traditions of landscape and portraiture painting in South Africa, and role of photography on her depiction of African peoples.
In this pioneering study, Marion Arnold explores the connections, hitherto hidden or neglected, between women and art in South Africa. By doing so, she recovers the rich histories of South African women artists and celebrates their creativity in the visual arts. In a series of related essays teeming with fresh insights, Marion Arnold asks new questions about the ways women have portrayed themselves, depicted landscapes, painted images of plants and sculpted the body. She examines, too, portraits of women (both black and white) in service and the long history of representations (usually by men) of the female 'other'. Throughout the book, the connections Marion Arnold makes between ideas, artists and their works are always illuminating and often unexpected. Here are not only familiar names viewed afresh - such as Maggie Laubser, Irma Stern, Helen Sebidi and Jane Alexander - but lesser-known artists who are rediscovered and brought to life.