Jeanne Mammen's watercolour images of the gender-bending 'new woman' and her candid portrayals of Berlin's thriving nightlife appeared in some of the most influential magazines of the Weimar Republic and are still considered characteristic of much of the 'glitter' of that era. This book charts how, once the Nazis came into power, Mammen instead created 'degenerate' paintings and collages, translated prohibited French literature and sculpted in clay and plaster-all while hidden away in her tiny studio apartment in the heart of Berlin's fashionable west end. What was it like as a woman artist to produce modern art in Nazi Germany? Can artworks that were never exhibited in public still make valid claims to protest? Camilla Smith examines a wide range of Mammen's dissenting artworks, ranging from those created in solitude during inner emigration to her collaboration with artist cabarets after the Second World War. Smith's engaging analysis compares Mammen's popular Weimar work to her artistic activities under the radar after 1933, in order to fundamentally rethink the moral complexities of inner emigration and its visual culture. While Mammen's artistry is considered through the lens of gender politics to reveal her complex relationship with the urbanisation of her time, this book also highlights the crucial role played by a lost generation of inner émigré women artists as agents of German modernity. The examination of Mammen's life and work demonstrates the crucial role women artists played as both markers and agents of German modernity, but the double marginalisation they have nonetheless encountered as inner émigrés in recent history. It will be of interest to students of German studies, art history, literature, history, gender studies and cultural studies.

The rediscovery of icons of the 1920s, "degenerate" experiments, magical-poetic abstractions? this wide-ranging publication shows the complete work of Jeanne Mammen (1890?1976), a Berlin artist on the threshold of the modern age. Her productive output mirrors the extreme circumstances she experienced, from war, destruction and poverty to the emergence from the ruins.

Meskimmon asks why women artists were left out of the canon of German modernism, tracing the reasons to the construction of a unified (male) history of art that in effect denied women a voice. The book is an effort to reconceive the period's art history and the perspective of the Weimar woman artist.

From the glamour of the Golden Twenties to the depths of the dark side of a world undergoing rapid change - the penetrating content of works by more than 60 artists recreates the age of the Weimar Republic, big - city life and the entertainment scene as well as the consequences of the First World War and socially controversial topics such as prostitution, political struggle and social tensions. As the first German democracy, the Weimar Republic (1918 - 1933) is regarded as a time of crisis and transition - from the German Empire to the totalitarian regime of National Socialism. Numerous artists not only portrayed these years in their realistic representations, which are ironical and grotesque as well as critical - analytical; they also aimed to comment on the stat us quo and bring about social change. Works from Otto Dix and George Grosz via Conrad Felixmuller and Christian Schad to Dodo, Jeanne Mammen, Elfriede Lohse - Wachtler, famous artists and others waiting to be rediscovered, paint a multi - layered and political picture of the Weimar Republic.

Drawing on new research from local archives as well as reinterpretations of published literature,Power and the Peopledescribes how England remained governable between 1525 and 1640, despite the wars, famine, epidemics, and dynastic and religious crises of the period. The book surveys the mechanisms of authority at various levels, from the street and alehouse to the manor and the royal court. Maintaining order was a difficult challenge, given that England had no standing army or professional police, and Alison Wall investigates everything from the roles of village constables to the social cohesiveness that came from civic celebrations and participatory politics. Her book provides students with a rich perspective on the social world and political culture of early modern England.

Bringing together the work of scholars in many disciplines, Women in the Metropolis provides a comprehensive introduction to women's experience of modernism and urbanization in Weimar Germany. It shows women as active participants in artistic, social, and political movements and documents the wide range of their responses to the multifaceted urban culture of Berlin in the 1920s and 1930s. Examining a variety of media ranging from scientific writings to literature and the visual arts, the authors trace gendered discourses as they developed to make sense of and regulate emerging new images of femininity. Besides treating classic films such as Metropolis and Berlin: Symphony of a Great City, the articles discuss other forms of mass culture, including the fashion industry and the revue performances of Josephine Baker. Their emphasis on women's critical involvement in the construction of their own modernity illustrates the significance of the Weimar cultural experience and its relevance to contemporary gender, German, film, and cultural studies.

Born in Berlin, Mammem grew up in France after 1900. She began her training as a painter and graphic artist in Paris, which she later continued in Brussels and Rome. Her family had to flee from France at the outbreak of World War 1: and as of 1915 Jeanne Mammen was again living in Berlin. The French cultural circle of her youth fundamentally influenced Mammen's creative personality and her own style. Elements from the European art tradition combined very specificly with what she found in Germany - merging into an impressive example of the art and cultural exchange between Germany and France. Exhibition: Berlinische Galerie, Germany (2017).