Understanding that abstract art must be looked at in the light of the artists‘ political and personal surroundings, this volumes dives into the creation and reception of these artworks over time. From the symbolist abstraction of Hilma af Klint, now widely regarded as the first abstract artist, and the sensual abstraction of Huguette Caland, to the purist non-objective approach of Verena Loewensberg, each artist’s relationship to abstraction is examined. These artworks are presented with thought-provoking essays by esteemed critics, contextualizing and exploring the subjects and themes of the movement.
Ultimately, this volume questions the legitimacy of the notion of „female artists“ and presents this group as simply artists, full of complexities and paradoxes.
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