User:Annaschechter/sandbox

Notes on Sources
Christina Weyl, The Women of Atelier 17: Modernist Printmaking in Mid-Century New York (Yale University Press: 2019). - "Through the lens of Atelier 17, three examples of this sexist neglect [of women's "engagements with surrealism's core principles"] can be seen with Dalla Husband, Siri Rathsman (1895-1974), and Nina Negri (1909-1981), all workshop members who followed the principles of surrealist automatism, but whose lives are obscure today" (36).

"Husband, Rathsman, and Negri exhibited their prints regularly with Atelier 17 in the 1930s and also in other forums, such as the Association Artistique les Surindependants" (37).

This quote is too biased ("sexist neglect") to use, but I hope that it provides some information that I can spring from. "Workshop members" and "surrealist automatism" give me some hope and ideas for future searches.

Google Books link: https://www.google.com/books/edition/The_Women_of_Atelier_17/Ju2ODwAAQBAJ?hl=en&gbpv=0

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Joann Moser, Atelier 17: a 50th anniversary retrospective exhibition (1977). - Siri Rathsman is listed under "1927-1939: Paris" (83). Rathsman definitely worked at Atelier 17 though it is unclear exactly when.

http://digicoll.library.wisc.edu/cgi-bin/Arts/Arts-idx?type=article&did=Arts.Atelier.i0014&id=Arts.Atelier&isize=M

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Andrea Kollnitz, Benedikt Hjartarson, Per Stounbjerg, and Tania Orum, A Cultural History of the Avant-Garde in the Nordic Countries 1925-1950 (Brill: 2019). - "The Nordic Surrealist Exhibition was held at Skanska konstmuseums (the Scanian Art Museum) at Lund Universirt from 21 March to 2 April 1937" (245.) (The footnote at the end of this sentence reads: "From Sweden the following artists participated: Gosta Adrian-Nilsson, Christian Berg, Bergtil Bull-Hedlund, Sven Jonson, Esaias Thoren, Wilhelm Tornqvist, Stellan Morner, Axel Olson, Erik Olson, Siri Rathsman...").

We know that Rathsman exhibited work at this event, so I will look into this exhibition for more leads.

Google Books link: https://www.google.com/books/edition/A_Cultural_History_of_the_Avant_Garde_in/kf-GDwAAQBAJ?hl=en&gbpv=0

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Mary Ann Caws, Manifesto: A Century of Isms (U of Nebraska Press: 2001). -

"Dimensionist Manifesto

1936

Antonio Pedro, Camille Bryen, Cesar Domela, Charles Sirato, Enrico Prampolini, Ervand Kotchar, Francis Picabia, Frederick Kann, Hans Arp, Kakabadze, Ladislas Moholy-Nagy, Marcel du-Champ, Mario Missim, Nina Negri, Pierre Albert-Birot, Prinner, Robert Delaunay, Sonia Delaunay, Siri Rathsman [...]

Dimensionism is a general movement in the arts, begun unconsciously by cubism and futurism -- continuously elaborated and developed afterward by every people in Western civilization" (536).

This quote points me towards Dimensionism. May be another avenue to look down for Rathsman.

Link:https://www.google.com/books/edition/Manifesto/lKONAETXi-kC?hl=en&gbpv=0

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Ana Gonçalves Magalhães, Ann Shafer, Carolina Rossetti de Toledo, Christina Weyl, Claudio Mubarac, Heloísa Espada, Peter John Brownlee, Priscila Sacchettin, Ruth Fine and Silvia Dolinko, Atelier 17 and Modern Printmaking in the Americas (2019). -

"Like Husband, the Swedish Siri Rathsman (1895-1964) and Argentinian-born Nina Negri (1909-1981) followed the principles of automatism. Rathsman's prints are very rare, but a group recently located with a New York art dealer demonstrate her skillful handling of the engraver's burin and her curiosity with color printing" (footnote 21) (75). (Footnote: "Thank you to Anders Wahlstedt for bringing these prints by Rathsman to my attention.")

"Negri, Rathsman, and Husband exhibited their prints regularly with Atelier 17 in the 1930s..." (75)

These echo my earlier note and back up that source as well.

"Negri and Rathsman were quite active in Paris's avant-garde community in other -- and yet unexpected -- ways. Both were signors of the Hungarian artist Charles Sirato's Manifesto Dimensioniste (1936), which urged visual artists to draw from recent discoveries in the fields of mathematics and physics surrounding time and space, most notably Einstein's Theory of General Relativity. The careers and innovative prints of Negri, Rathsman, and Husband merit further scholarly attention" (75).

"merit further scholarly attention" is too biased to use, but this could help. Should read Sirato's manifesto and figure out what exactly Rathsman did in Paris's avant-garde community.

Link: http://www.livrosabertos.sibi.usp.br/portaldelivrosUSP/catalog/download/379/332/1361-1?inline=1

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Frances Carey, Modern Scandinavian Prints, (Trustees of the British Museum: 1997). - “Siri Rathsman was a painter and printmaker who spent most of her adult life in Paris. where in addition to her artistic activity she was a correspondent for the Gothenlwrg Business and Shipping News (Goteborgs Handels- och Sjofarts- Tidning) writing under the pseudonym of Contessa Belloni. During the Second World War she was involved with the Resistance together with her friend Greta Knutson, who was married to the Surrealist poet Tristan Tzara. Rathsman published a book attacking the Vichy regime in 1943; this resulted in her expulsion from Paris but she resumed her residence there as soon as the war was over

Her early training was in '''Stockholm at Carl Wilhelmson's painting school. then at the Valand Art School in Gothen- burg.''' before spending three years in Copenhagen from 1916 to 1919. She lived from 1919 onwards in Paris, where she studied at the Academic Moderne with Othon Friesz and Raoul Dufy in 1920, and with Diego Rivera in 192r. By 1933 Rathsman was already a visitor to Hayter's Atelier 17 but her main association came after the Second World War when she concentrated more on her work as a printmaker” (128).

“During the 1940s and early 1950s Siri Rathsman showed at the Svensk-Franska Konstgalleriet in Stockholm. with a catalogue and introduction by the painter Otte Skold pro- duced in 1951. The only other exhibition catalogue in Sweden was that from the Coteborgs Konstforening. Konsthallen Göteborg in 1957, which covered her paintings and prints from 1919 to 1951. but none of the latter was illustrated” (130).

This source gives me some important biographical information. Key info has been bolded. Her pseudonym may be very helpful to have on hand.