Stephanie Hollenstein

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File:Hollenstein-Student.jpg
Stephanie Hollenstein
(date unknown).

Stephanie Hollenstein (18 July 1886 in Lustenau – 24 May 1944 in Vienna) was an Austrian Expressionist landscape and still-life painter.[1] A member of the Nazi Party, Hollenstein was lesbian[2][3] and tried to defend fellow-artists against charges of degeneracy, though usually without success.[4][5] She was nicknamed Die Schiefmalerin, meaning the Crooked Lady Painter.[6]

Biography

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Hollenstein was born to a peasant farming family in 1886, and initially worked as a cowherd in Lustenau, Vorarlberg.[7] Her first paintings were made at that time, featuring animals and shepherds, with brushes made from animal hair and colors from berries.[6] In 1904, she was admitted with a scholarship to the Königliche Kunstgewerbeschule in Munich,[3][8] on the strength of the drawings she presented as samples.[9] After completing the courses there in 1908 and earning a distinction grade,[7] she opened a small private painting school in Schwabing, which was in operation for two years.[10] In 1913, upon the recommendation of Franz von Defregger, she was awarded a scholarship that enabled her to study for a year in Italy.[11]

World War I

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File:Hollenstein-War.jpg
Hollenstein in World War I.
File:Hollenstein-Gross.jpg
Portrait of
Dr. Franziska Groß.

At the beginning of World War I, in Summer 1914, she completed a Red Cross Nursing training course.[6] She then went to Vorarlberg, where she joined the 2nd Dornbirn Battalion, Company II of the Standschützen under the male name "Stephan Hollenstein".[12] She dressed in male clothes[13] and was deployed to the Tyrolean war zone near Bolzano in May 1915.[6] Although her comrades-in-arms were aware of the deception regarding her gender, her superiors did not discover it for several months; in August 1915 she was sent home.[9]

This incident attracted public attention and fame,[14] however, and she was assigned as a war painter for the Austro-Hungarian Army’s "Kriegspressequartier (de)" (War Press Bureau). In that capacity, she was sent to the Italian front[15] on three occasions and, in 1916, was among the first recipients of the Karl Troop Cross. She later received numerous commissions from the Museum of Military History.[11]

After the war, she lived in Vienna with her companion, Franziska Groß (1900-1973), who later became a doctor, and held several exhibitions with the Künstlerhaus Wien, the Vienna Secession and the Hagenbund.[9] Her activities were interrupted for a time in 1928, following an accident that resulted in a double ankle fracture, but she was able to get treatment from Lorenz Böhler, a doctor who is credited with establishing the field of accident surgery.[11] She recovered completely and made extensive travels through Germany and Italy.

Nazi years

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In the 1930s, she was attracted to the "Männlichkeitskult" (Masculinity Cult) and the military ideals promoted by the Fascists. She became a secret member of the Nazi Party (when it was still officially banned in Austria), then rejoined openly after the Anschluss.[11] From that time until 1943, she was chairperson of the "Vereinigung Bildender Künstlerinnen der Reichsgaue der Ostmark" (Association of Women Artists of the Reichsgau of Austria).[9] During her tenure, she defended the sculptor, Albert Bechtold (de), and others against charges that their art was "Degenerate"; unsuccessfully for the most part. She remained openly lesbian[3] and her own same-sex desire was tolerated as long as it did not cause a public sensation.[16] An application for the title of "Professor" was denied on the grounds that she was a strictly local artist whose work often did not set a good example.

She resigned her position for health reasons. The following year, she suffered a heart attack and died shortly after. Her remains were returned to Lustenau for burial. A municipal art gallery named in her honor was opened in 1971, which houses most of her extant work (1,114 numbered items).[7][9]

Selected paintings

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References

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  15. ^ Roe, Francesca. (2004) "Landscapes of Glory and Grief: Representations of the Italian Front and Its Topography in the Art of Stephanie Hollenstein and Albin Egger-Liennz, and the Poetry of Gustav Heinse." PhD dissertation, University of Bristol.
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Further reading

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  • Willi Oberfrank, Helmut Gassner: Stephanie Hollenstein. 1886–1944 (exhibition catalog). Marktgemeinde Lustenau, 1994, Lua error in Module:Citation/CS1/Configuration at line 2172: attempt to index field '?' (a nil value)..
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