Jugendstil Women and the Making of Modern Design

Sabine Wieber is a Lecturer in History of Art at the University of Glasgow, UK.

List of Figures Acknowledgments Introduction: A New Style for a New Age? 0.1 Modern Women 0.2 The Cultural Geography of Munich around 1900 0.3 Munich - Berlin 0.4 Prince Regent Luitpold 0.5 The Term Jugendstil 0.6 Chapters Summary 1. Maker: Margarethe von Brauchitsch and the United Workshops 1.1 Introducing Margarethe von Brauchitsch 1.2 The Vereinigte Werkstatten fur Kunst im Handwerk 1.3 The Kunstsalon Littauer 1896 1.4 The 'Seventh International Art Exhibition' at the Munich Glaspalast 1.5 The United Workshops and Margarethe von Brauchitsch 1.6 A New Direction for Embroidery 1.7 The Materiality of Margarethe von Brauchitsch's Embroideries 1.8 Interiors and Textiles 1.9 Machine Embroidery 1.10 Embroidery and Jugendstil Historiography 1.11 Was Margarethe von Brauchitsch a Jugendstil Woman? 1.12 Relegated to the Sidelines 2. Activists: The Elvira Photography Studio and Munich Feminist Politics 2.1 August Endell's First Commission 2.2 August Endell and Munich Jugendstil 2.3 The Building and Its Facade 2.4 The Interior 2.5 The Patrons: Antia Augspurg and Sophia Goudstikker 2.6 Studio Photography in Munich around 1900 2.7 The Photo-Studio Elvira and Munich's Women's Movement 2.8 The Association for Women's Interests (1894) 2.9 Going their Separate Ways 2.10 Jugendstil Experimentation and Political Advocacy 2.11 Postscript 3. Students: Education Women at the Debschitz School 3.1 The Debschitz School at Dresden 3.2 Hermann Obrist (1862-1927) 3.3 Wilhelm von Debschitz (1871-1948) 3.4 The Lehr- und Versuchsatelier fur Angewandte und Freie Kunst 3.5 The Curriculum 3.6 Women at the Debschitz School 3.7 Art and Design Education in Munich around 1900 3.8 The Royal Applied Arts School (1868) 3.9 The weibliche Abteilung at the Royal School of Applied Arts (1872) 3.10 The Munich Women Artists' Association and its Frauenakademie 3.11 Women at the Debschitz School 3.12 Emilie Butters (1879-1961) 3.13 Modernism's Paradox 4. Patron: Fashionable Taste at Elsa Bruckmann's Salon 4.1 Elsa Bruckmann (1865-1946) 4.2 Munich-Vienna: The Todesco Palais 4.3 Marrying into a Publishing Empire 4.4 The Bruckmanns' New Headquarters 4.5 Munich-Glasgow: The Dining Room 4.6 Munich-London: Hermann and Anna Muthesius 4.7 Elsa Bruckmann's Debut as Salonniere 4.8 A Brief History of Salon Culture 4.9 The Mackintosh Dining Room-cum-Salon 4.10 Salon Culture and Gender 4.11 Elsa Bruckmann's 'Enhanced Independence' 5. Reformers: Dressing the Part 5.1 What is Artistic Dress? 5.2 Kunstlerkleider and German Dress Reform 5.3 Dress and Function 5.4 Fashion/Anti-Fashion 5.5 Maria van de Velde and Alfred Mohrbutter 5.6 Artistic Dress and Jugendstil Interiors 5.7 Health and Beauty 5.8 German Life Reform 5.9 Dress Reform and Germany's Women's Movement 5.10 Jugendstil Women and Dress Reform 5.11 Anna Muthesius and Else Oppler 5.12 Artistic Dress and the Department Store 5.13 The Kaufhaus Oberpollinger and the Warenhaus Hermann Tietz 5.14 Shopping Conclusion Bibliography Index