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/cf. #AnitaRee auf 🦣 norden.social/tags/AnitaRee

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Anita Clara Rée
German Jewish artist
1885-1933
Self Portrait, 1930
oil on canvas
66 x 60.8 cm

#AnitaRee
#GermanJewishartist

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Anita Clara Rée
German Jewish artist
1885-1933
Profile Against Red (Bertha?), Before 1929

#AnitaRee
#GermanJewishartist

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Anita Clara Rée
German Jewish artist
1885-1933
Canyon in Pians, 1921

#AnitaRee
#GermanJewishartist

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Anita Clara Rée
German Jewish artist
1885-1933
Assa, 1931
Oil on canvas

#AnitaRee
#GermanJewishartist

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Anita Clara Rée
b 1885 Hamburg
d 1933 Kampen
She was a German Jewish avant-garde painter during the Weimar Republic. She killed herself after the anti-Semitic government declared her work degenerate. Her works were saved by a groundskeeper.

Self Portrait, c 1911
oil on wood
42 x 29.5 cm

#AnitaRee

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German artist Anita Clara Rée repeatedly explored her own self through drawing and painting. In numerous works, she utilized the full potential of color, form, and composition to express her complex personality.

In this self-portrait from 1930, she presents herself bust-length against a luminous yellow-green background: her nakedness appears both strong and vulnerable, her crossed arms protective. With her hand raised to her chin, Rée also employed the gesture of melancholy, known since antiquity, and thus presented herself as an intellectual artist familiar with current trends. 

Her Hamburg art circle included the art historians Erwin Panofsky and Fritz Saxl. In 1923, they jointly wrote a book on Albrecht Dürer's famous engraving "Melencolia I," explaining the connection between melancholy and genius.

Rée's questioning gaze in the painting also addressed her own identity as a person, woman, and artist, as well as her origins. With her warm skin tone and dark, almond-shaped eyes, the Hamburg native with Jewish ancestry and South American roots was considered an exotic presence, and she frequently emphasized this otherness.

Rée's self-portrait was created at the height of her success. Immediately after its creation, it was shown at an exhibition in Stockholm and acquired by the Hamburger Kunsthalle. 

Three years later in 1933, Rée took her own life, in the seaside city of Kampen on the island of Sylt, partly as a result of having been subjected to hostility and continuing harassment by Nazis and antisemitic forces. In 1932, the Nazis had denounced her as a Jew and the Hamburg Art Association called her an "alien." In a note to her sister, she decried the insanity of the world. 

In 1937, the Nazis designated Rée's work as "Degenerate art" (Entartete Kunst) and began purging it from museum collections. Luckily, Wilhelm Werner, a groundskeeper at the Kunsthalle Hamburg preserved many of Rée's paintings by hiding them in his apartment.

German artist Anita Clara Rée repeatedly explored her own self through drawing and painting. In numerous works, she utilized the full potential of color, form, and composition to express her complex personality. In this self-portrait from 1930, she presents herself bust-length against a luminous yellow-green background: her nakedness appears both strong and vulnerable, her crossed arms protective. With her hand raised to her chin, Rée also employed the gesture of melancholy, known since antiquity, and thus presented herself as an intellectual artist familiar with current trends. Her Hamburg art circle included the art historians Erwin Panofsky and Fritz Saxl. In 1923, they jointly wrote a book on Albrecht Dürer's famous engraving "Melencolia I," explaining the connection between melancholy and genius. Rée's questioning gaze in the painting also addressed her own identity as a person, woman, and artist, as well as her origins. With her warm skin tone and dark, almond-shaped eyes, the Hamburg native with Jewish ancestry and South American roots was considered an exotic presence, and she frequently emphasized this otherness. Rée's self-portrait was created at the height of her success. Immediately after its creation, it was shown at an exhibition in Stockholm and acquired by the Hamburger Kunsthalle. Three years later in 1933, Rée took her own life, in the seaside city of Kampen on the island of Sylt, partly as a result of having been subjected to hostility and continuing harassment by Nazis and antisemitic forces. In 1932, the Nazis had denounced her as a Jew and the Hamburg Art Association called her an "alien." In a note to her sister, she decried the insanity of the world. In 1937, the Nazis designated Rée's work as "Degenerate art" (Entartete Kunst) and began purging it from museum collections. Luckily, Wilhelm Werner, a groundskeeper at the Kunsthalle Hamburg preserved many of Rée's paintings by hiding them in his apartment.

Selbstbildnis (Self-portrait) by Anita Rée (German) - Oil on canvas / 1930 - Hamburger Kunsthalle (Germany) #womeninart #art #womanartist #oilpainting #womensart #femaleartist #portrait #selfportrait #HamburgerKunsthalle #AnitaRee #AnitaRée #GermanArtist #herstory #EntarteteKunst #portraitofawoman

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In 1921, German avant-garde painter Anita Clara Rée toured the Tyrol region of Austria and painted this portrait of a woman sitting in a Christian church or room with Christian art. She clutches a string of rosary beads and looks away to the right from the artist. Her attire is simple daily wear for the era with a blue skirt, white high-neck blouse with pointy shoulders, and a flat blue hat with a single white flower. Behind her a black car plays on wooden steps. 

Born into an old Jewish family of Hamburg merchants who traded in goods from India, Rée studied with Arthur Siebelist, Max Liebermann, Franz Nölken, Fernand Léger, and others in various art communities. From around 1914, she gained recognition as a portrait painter. She returned to Hamburg in 1926 and helped found GEDOK, an association of women artists. In 1932, the Nazis had denounced her as a Jew and the Hamburg Art Association called her an "alien".

Rée killed herself after the anti-Semitic government declared her work degenerate; however, some of her works were saved by Wilhelm Werner, a groundskeeper at the Kunsthalle Hamburg, who hid them in his apartment.

In 1921, German avant-garde painter Anita Clara Rée toured the Tyrol region of Austria and painted this portrait of a woman sitting in a Christian church or room with Christian art. She clutches a string of rosary beads and looks away to the right from the artist. Her attire is simple daily wear for the era with a blue skirt, white high-neck blouse with pointy shoulders, and a flat blue hat with a single white flower. Behind her a black car plays on wooden steps. Born into an old Jewish family of Hamburg merchants who traded in goods from India, Rée studied with Arthur Siebelist, Max Liebermann, Franz Nölken, Fernand Léger, and others in various art communities. From around 1914, she gained recognition as a portrait painter. She returned to Hamburg in 1926 and helped found GEDOK, an association of women artists. In 1932, the Nazis had denounced her as a Jew and the Hamburg Art Association called her an "alien". Rée killed herself after the anti-Semitic government declared her work degenerate; however, some of her works were saved by Wilhelm Werner, a groundskeeper at the Kunsthalle Hamburg, who hid them in his apartment.

Tiroler Bäuerin by Anita Rée (German) - Oil on canvas / 1921 - Lenbachhaus (Munich, Germany) #womeninart #anitaree #AnitaRée #art #artwork #painting #portrait #oilpainting #Lenbachhaus #artoftheday #womanartist #womensart #germanartist #germanart #bskyart #gedok #avant-garde #tyrol

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Gedenkstein aus Messing für Anita Rée: Hier wohnte Anita Rée Jg. 1885. Freitod am 12.12.1933 in Kampen/Sylt

Gedenkstein aus Messing für Anita Rée: Hier wohnte Anita Rée Jg. 1885. Freitod am 12.12.1933 in Kampen/Sylt

12.12.1933 in Kampen auf #Sylt – Anita Rée begeht Selbstmord. Ihr Stolperstein liegt in der Fontenay in Hamburg-Pöseldorf. mprove.de/chrono?q=53....

#AnitaRee #Stolpersteine mprove.de/chronolab/hh...

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