Фрида и Флехтхайм

Фрида Рисс (Frieda Gertrud Riess), 1929

Альфред Флехтхайм, Моисей Коган и Иза Шпейер в парке гостиницы на Монте Верита, Аскона, Швейцария.

Эту гостиницу барон Эдуард фон дер Хейдт приобрел в 1926 г., Монте Верита с 1900 г. была колонией анархистов и местом паломничества самых знаменитых творческий людей (Клее, Гессе, Юнг, Ремарк, Айседора Дункан и многие другие).

Альфред Флехтхайм (1 апреля 1878 - 9 марта 1937) - немецкий еврейский торговец произведениями искусства, коллекционер, журналист и издатель, был преследуем нацистами.

См. https://raf-sh.livejournal.com/1154257.html , https://raf-sh.livejournal.com/1462828.html

В 1925 г. Флехтхайм устроил первую выставку Фриды Рисс, 177 фото-портретов, что сыграло огромную роль в ее успехе (см. ниже английский текст об этом).

Мойше, или Моисей Герцевич, Коган (фр. Moïse Kogan, нем. Moissey Kogan; 12 (24) мая 1879, Оргеев, Кишинёвский уезд, Бессарабская губерния — 3 марта 1943, погиб в концлагере Освенцим) — французский скульптор и график.

Об Изе Шпейер сведений пока не нашел.

Барон Эдуард фон дер Хейдт тоже заметная личность - какое-то время, пока не переселился в Швейцарию, был членом НСДАП, и после войны попал из-за этого под суд.

Из нашего посещения музея Асконы: альбомы "Марианна Веревкина в Асконе" (https://raf-sh.livejournal.com/1250554.html) и "Луиджи Руссоло в Асконе" (https://raf-sh.livejournal.com/1250949.html). Веревкина и Явленский поселились в Асконе в 1919 г., причем Марианна там навсегда и осталась.




Alfred Flechtheim, Moissey Kogan and Isa Speyer in Eduard von der Heydt’s garden, Monte Verità, Ascona, Switzerland, 1929 (collection of Museum Rietberg, Zürich, public domain)
[Photo and text from https://www.helenshiner.co.uk/portfolio/alfred-flechtheim-moissey-kogan/]

HELEN SHINER:
"Alfred Flechtheim and Moissey Kogan. One a ground-breaking art dealer, publisher and art collector, the other an innovative, influential sculptor-craftsman and print-maker, both prominent in their respective fields. Flechtheim and Kogan were cosmopolitan Jews active within the Berlin and Parisian avant-gardes of the first half of the 20th century and allied by ties of friendship and a mutual, wide-ranging European network of dealers, collectors and academics with interests in common in non-European art. They would be hounded, slandered and dispossessed, and ultimately, in the case of Kogan, killed, by the National Socialist regime. Flechtheim, a German, was accused by the virulent Nazi artist and writer, Wolfgang Willrich, of being a ‘Getreidejude aus Odessa‘, whilst Kogan, a Russian, was, ironically, the son of wine and grain merchants from Bessarabia.

As part of this research project, I am investigating the relationship between the two men, from the vibrant arts scene and café society of Paris and Berlin to Flechtheim’s untimely death in exile in London in 1937 and Kogan’s arrest in Paris and murder at Auschwitz in 1943. The project will map their joint vilification in the infamous exhibition, Der ewige Jude, and elsewhere. It will also trace the dispersal to the four winds of Flechtheim’s stock and personal collection, and the removal of Kogan’s works from museums and Jewish ownership, as part of the Nazis’ Degenerate Art campaign."

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https://www.dasverborgenemuseum.de/exhibits/exhibit/die-riess-44-en :

“I have asked Rieß for an exhibition of her photographs, because she creates art using lens and rubber ball”, Alfred Flechtheim wrote in the catalogue to an exhibition of Riess’ portraits in his gallery in 1925.
At that time it was somewhat surprising for one of Berlin’s leading art dealers to show photographs, and the fact that he refers to photography as art invites particular attention.

In her time, “Riess” – as she was known to her contemporaries – was well-known in the press world and much praised. The internationalism of her clientele gave the legendary “invitations to tea” in the photo studio on Kurfürstendamm a reputation beyond the boundaries of Berlin.

The solo exhibition of 177 portraits in Alfred Flechtheim’s gallery in 1925 played a decisive part in this appreciation of the photographer. Flechtheim was one of the leading collectors and dealers in modern art during the 1920s.

Wilhelm von Bode and Georg Kaiser enthused in a similar way to Flechtheim over Riess’ portraits, and the critic of the “8-Uhr-Abendblatts”, Kurt Pinthus, was positively fervent. Gottfried Benn made an ironic attack on her portrait art, the French painter Marie Laurencin gushed praise in Paris, and the writer Vita Sackville-West sent enthusiastic accounts back to London of the circle that gathered for tea in Riess’ studio. Her nude shots - the male nudes of boxers in particular - reflect the erotically charged atmosphere in the studio, which became an exclusive meeting place at exhibition openings.