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In the early twentieth century, critics writing about European modern art vied to categorize increasingly diverse artistic positions, name emerging artists, and define future directions. One such critic was Ferdinand Avenarius, who promoted Katharine Schäffner as the first artist to probe the possib...

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Bibliographic Details
Published in:Tahiti (Helsinki) 2024-12, Vol.14 (2–3)
Main Author: Jane Boddy
Format: Article
Language:Finnish
Online Access:Get full text
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Summary:In the early twentieth century, critics writing about European modern art vied to categorize increasingly diverse artistic positions, name emerging artists, and define future directions. One such critic was Ferdinand Avenarius, who promoted Katharine Schäffner as the first artist to probe the possibilities of non-imitative art. Yet, despite his efforts, Schäffner finds herself conspicuously absent from the broader art-historical narratives today. This paper aims to explore the reasons behind this comparative neglect by examining a power struggle between Avenarius and Julius Meier-Graefe, influential critics who harbored conflicting visions of modern art.
ISSN:2242-0665
DOI:10.23995/tht.152083