Ottilie Roederstein

Ottilie Wilhelmine Roederstein (22 April 1859, Zürich - 26 November 1937, Hofheim am Taunus) was a German-Swiss painter. She was a long-time companion of Elisabeth Winterhalter, one of the first female doctors in Germany.[1]

Ottilie Roederstein
Self-portrait (1918)
Born(1859-04-22)22 April 1859
Zürich, Switzerland
Died26 November 1937(1937-11-26) (aged 78)
Hofheim am Taunus, Germany
NationalityGerman-Swiss
Known forPainting

Life
Blumenstilleben by Ottilie Roederstein

Roederstein was born in Switzerland.[2] She was the second daughter of a businessman who came from Germany to work as a representative for a Swiss textile company.

She was first attracted to painting when the now-forgotten Swiss painter Eduard Pfyffer (1836–1899) came to their home to do family portraits. This interest grew with visits to local museums. For a woman, training as a painter would have gone against contemporary social conventions. Her mother was especially opposed to her wishes,[2] but persistence eventually won over her father and, in 1876, she was allowed to study with Pfyffer, so she would be close to home.[1]

Her talent for portrait painting soon became obvious and she quickly outgrew Pfyffer's studio. Her opportunity came when her sister Johanna married a businessman from Berlin. Johanna and her husband agreed to let her live with them there, and she found a place as a student in a special women's class given by Karl Gussow. In 1882, she had her first exhibition with an art dealer in Zürich and it was well received. That same year, she followed a friend to Paris, where she found a position in the studios of Carolus-Duran and Jean-Jacques Henner.[1] By 1887, she was able to support herself with sales and commissions and no longer had to depend on her parents. She was a participant in the Salon and won a Silver Medal at the Exposition Universelle (1889). She exhibited her work at the Woman's Building at the 1893 World's Columbian Exposition in Chicago, Illinois.[3]

After 1890, she moved to Frankfurt to be with her friend, Elisabeth Winterhalter; although she travelled widely (including a trip to Africa in 1913). She never lost track of her Swiss roots, however, and became an Honorary Citizen of Zürich in 1902. Five years later, she and Eisabeth settled in Hofheim am Taunus (a suburb of Frankfurt). Amongst her models was Gwen John who was intrigued that Roederstein wore a shirt, jacket and a fob watch. Roederstein's painting of her as "The Letter" was exhibited at the salon of the Société Nationale des Beaux-Arts in 1908.[4] That same year Roederstein and her partner helped to create the Schillerschule, Frankfurt's first school for girls. After the war she did a number of portraits of women widowed by the war.[2] She continued to exhibit regularly until 1931.

gollark: What? Obviously not.
gollark: Of course, Windows 2000 is 182 more times than Windows 11, much better than Windows 98's 8.9.
gollark: https://images-ext-1.discordapp.net/external/jIwT2FWKXgeWc_bhxoNSDyVuxiYB_L0zu24kr80M0JM/https/media.discordapp.net/attachments/426116061415342080/924004285048561674/Capture_2021-12-24-13-15-49.png
gollark: ↓ you
gollark: They're regular in the underlying hyperbolic space.

References
  1. Historical Dictionary of Switzerland
  2. Claudia Siebrecht (19 September 2013). The Aesthetics of Loss: German Women's Art of the First World War. OUP Oxford. pp. 161–. ISBN 978-0-19-965668-4.
  3. Nichols, K. L. "Women's Art at the World's Columbian Fair & Exposition, Chicago 1893". Retrieved 30 November 2018.
  4. Susan Waller (5 July 2017). "Foreign Artists and Communities in Modern Paris, 1870-1914 ": Strangers in Paradise. Taylor & Francis. pp. 176–180. ISBN 978-1-351-56692-6.

Further reading
  • Clara Tobler: Ottilie W. Roederstein. Rascher & Cie, Zürich 1929.
  • Hermann Haindl: Ottilie W. Roederstein, eine Malerin in Hofheim. Magistrat und Kunstverein, Hofheim 1980. Exhibition catalog.
  • Barbara Rök: Ottilie W. Roederstein (1859–1937). Eine Künstlerin zwischen Tradition und Moderne. Jonas, Marburg 1999 (Dissertation, Philipps-Universität Marburg, FB 09, 1997).
  • Barbara Rök: „Ich arbeitete mit rastlosem Eifer“ - Ottilie Wilhelmine Roedersteins langer Weg zu einem eigenen Stil. In: Exhibition catalog, Ida Gerhardi – Deutsche Künstlerinnen in Paris um 1900. Städtische Galerie Lüdenscheid, 2012.
This article is issued from Wikipedia. The text is licensed under Creative Commons - Attribution - Sharealike. Additional terms may apply for the media files.