Published by The Museum of Modern Art, New York. Text by Diane Radycki.
Paula Modersohn-Becker (1876–1907) painted her last self-portrait in 1907, while she was in her third trimester. In the painting she gazes straight at the viewer, holding up two flowers—symbols representing the creativity and procreativity of women artists—and resting a protective hand atop her swelling belly. Modersohn-Becker would die three weeks after giving birth, at age 31, still to be recognized as the first woman artist to challenge centuries of representations of the female body. An essay by art historian Diane Radycki surveys Modersohn-Becker's career and her posthumous recognition.
Published by Louisiana Museum of Modern Art. Edited by Michael Juul Holm, Tine Colstrup. Introduction by Tine Colstrup, Poul Erik Tøjner. Text by Rainer Stamm, Uwe Schneede, Wolfgang Werner, Diane Radycki, Rineke Dijkstra.
Considered one of the most important representatives of early German Expressionism, painter Paula Modersohn-Becker (1876–1907) left behind an oeuvre of still-life paintings, landscape paintings, portraits and self-portraits in a characteristic expressionist style upon her premature death at the age of 41. Famous for her friendship with poet Rainer Maria Rilke and for having influenced Picasso, Modersohn-Becker is also recognized as a pioneer for female artistic representation of the female body, and is often cited as the first woman to paint full-length nude self-portraits. This volume, published on the occasion of Louisiana's retrospective exhibition, includes essays by experts focusing on different aspects of the artist and her oeuvre, as well as contributions from contemporary artists Rineke Dijkstra, Chantal Joffe and Daniel Richter. With more than 100 images, the book is an accessible introduction to this inaugural Expressionist about whom little has been published outside of Germany.
Paula Modersohn-Becker