Nell Walden Der Sturm and the Collaborative

Cultures of Modern Art Jessica Sjöholm Skrubbe

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Nell Walden, Der Sturm, and the
Collaborative Cultures of Modern Art

Based on hitherto overlooked archival material, this book reveals Nell Walden’s
significant impact on the Sturm organisation through a feminist reading of support-
ive labour that highlights the centrality of collaborative work within the modern art
world.
This book introduces Walden as an ardent collector of modern and indigenous
art and critically contextualises her own art production in relation to expressionist
concepts of art and to gendered ideas on abstraction and decoration. Visual analyses
highlight how she collaborated with professional and experimental women photogra-
phers during the Weimar era and how the circulation of these photographs served
as a means to intervene in the public sphere of culture in interwar Germany. Finally,
the book provides an analysis of Walden’s continuing work for Der Sturm after her
voluntary exile from Germany to Switzerland in 1933 and highlights the importance
of women’s supportive labour for the canonisation and institutionalisation of modern
art in museums and archives.
The book will be of interest to scholars working in art history, visual studies, and
gender studies.

Jessica Sjöholm Skrubbe is senior lecturer in the Department of Culture and Aesthet-
ics at Stockholm University.
Routledge Research in Gender and Art

Routledge Research in Gender and Art is a new series in art history and visual stud-
ies, focusing on gender, sexuality, and feminism. Proposals for monographs and ed-
ited collections on this topic are welcomed.

Artist-Parents in Contemporary Art

Gender, Identity, and Domesticity
Barbara Kutis

Feminist Visual Activism and the Body

Edited by Basia Sliwinska

Modern Women Artists in the Nordic Countries, 1900–1960

Edited by Kerry Greaves

Transnational Perspectives on Feminism and Art, 1960–1985

Edited by Jen Kennedy, Trista E. Mallory and Angelique Szymanek

French Women Orientalist Artists, 1861–1956

Cross-Cultural Contacts and Depictions of Difference
Mary Kelly

Iconic Works of Art by Feminists and Gender Activists

Mistress-Pieces
Edited by Brenda Schmahmann

On the Nude
Looking Anew at the Naked Body in Art
Edited by Nicholas Chare and Ersy Contogouris

Nell Walden, Der Sturm, and the Collaborative Cultures of Modern Art
Jessica Sjöholm Skrubbe

For a full list of titles in this series, please visit https://www.routledge.com/Routledge-

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Nell Walden, Der Sturm,
and the Collaborative
Cultures of Modern Art

Jessica Sjöholm Skrubbe

Cover image: Yva (Else Neulaender), Photograph of Nell Walden and
sculpture by William Wauer in double exposure, late 1920s/early 1930s.
Photo © Staatsbibliothek zu Berlin, Handschriftenabteilung.
First published 2022
by Routledge
605 Third Avenue, New York, NY 10158
and by Routledge
4 Park Square, Milton Park, Abingdon, Oxon, OX14 4RN
Routledge is an imprint of the Taylor & Francis Group, an informa business
© 2022 Jessica Sjöholm Skrubbe
The right of Jessica Sjöholm Skrubbe to be identified as author of this work has
been asserted in accordance with sections 77 and 78 of the Copyright, Designs
and Patents Act 1988.
All rights reserved. No part of this book may be reprinted or reproduced or
utilised in any form or by any electronic, mechanical, or other means, now
known or hereafter invented, including photocopying and recording, or in any
information storage or retrieval system, without permission in writing from the
publishers.
Trademark notice: Product or corporate names may be trademarks or registered
trademarks, and are used only for identification and explanation without intent
to infringe.
Library of Congress Cataloging-in-Publication Data
Names: Sjöholm, Jessica, author.
Title: Nell Walden, Der Sturm, and the collaborative cultures of modern art/
Jessica Sjöholm Skrubbe.
Description: New York : Routledge, 2022. | Includes bibliographical references
and index.
Identifiers: LCCN 2021037735 (print) | LCCN 2021037736 (ebook) |
ISBN 9780367552459 (hardback) | ISBN 9780367566876 (paperback) |
ISBN 9781003098935 (ebook)
Subjects: LCSH: Walden, Nell. | Sturm. | Modernism (Art)—Europe. | Feminism
and art—Europe—History—20th century. | Art and
society—Europe—History—20th century.
Classification: LCC N7093.W35 S59 2022 (print) | LCC N7093.W35 (ebook) |
DDC 709.04—dc23
LC record available at https://lccn.loc.gov/2021037735
LC ebook record available at https://lccn.loc.gov/2021037736

ISBN: 978-0-367–55245-9 (hbk)

ISBN: 978-0-367–56687-6 (pbk)
ISBN: 978-1-003–09893-5 (ebk)
DOI: 10.4324/9781003098935
Typeset in Sabon
by codeMantra
To my family with love
Contents

List of figures ix
Acknowledgements xiii

Introduction: In the Margins of the Centre 1

1 Companion, Friend, and Fellow Combatant 14

2 The Walden Art Collection 42

3 Sturm Artist XIV 85

4 Securing Visibility, Maintaining Presence 127

5 Histories and Archives 171

Conclusion: Collaborative Cultures 210

Bibliography 211
Index 231
Figures

0.1 Unknown photographer, Herwarth and Nell Walden in their dining

room, 1916 2
1.1 Atelier Kaufhaus des Westens, Portrait of Nell Walden, 1909 15
2.1 Unknown photographer, Herwarth Walden’s study, n.d. (after 1912) 42
2.2 Franz Marc, Sheep (Schafe), 1912. Oil on canvas, 49.5 × 77 cm.
Saarlandmuseum, Saarbrücken (NI 1238) 43
2.3 Franz Marc, Yellow Cow (Die gelbe Kuh), 1911. Oil on canvas,
140.5 × 189.2 cm. Solomon R. Guggenheim Museum, New York
(49.1210), Solomon R. Guggenheim Founding Collection 44
2.4 Oskar Kokoschka, Portrait of Herwarth Walden (Bildnis Herwarth
Walden), 1910. Oil on canvas, 100 × 69.3 cm. Staatsgalerie
Stuttgart (2749). © Fondation Oskar Kokoschka/Bildupphovsrätt 2021 45
2.5 Oskar Kokoschka, Heavenly and Earthly Love (Himmlische
und irdische Liebe), 1909–1910. Pencil and ink on paper,
32.6 × 24.9 cm. Moderna Museet, Stockholm (NMH 67/1958).
© Fondation Oskar Kokoschka/Bildupphovsrätt 2021. 46
2.6 Sturm postcard, Alexei von Jawlensky, Head (Kopf) 47
2.7 Wassily Kandinsky, Large Study (Grosse Studie), 1914. Oil
on canvas, 101 × 79.3 cm. Collection Museum Boijmans van
Beuningen, Rotterdam (2677 MK) 48
2.8 Heinrich Campendonk, Jumping Horse (Springendes Pferd),
1911. Oil on canvas, 85 × 65 cm. Saarlandmuseum, Saarbrücken
(NI 1234). © Heinrich Campendonk/Bildupphovsrätt 2021 49
2.9 Umberto Boccioni, The Forces of a Street (Le Forze di una Strada)
1911. Oil on canvas, 99.5 × 80.5 cm. Nakanoshima Museum of
Art, Osaka 50
2.10 Gino Severini, The Milliner (La Modista), 1910–1911. Oil on
canvas, 64.8 × 48.3 cm. Philadelphia Museum of Art (2004-
45-2), Gift of Sylvia and Joseph Slifka, 2004. © Gino Severini/
Bildupphovsrätt 2021 51
2.11 Emil Filla, Still Life II (Stilleben II), 1912–1913. Oil on canvas,
37 × 28.5 cm. Kunstmuseum Bern (G 1982). © Emil Filla/
Bildupphovsrätt 2021 52
x Figures
2.12 Paul Klee, Belligerent Tribe (Kriegerischer Stamm), 1913. Ink
on paper, 13.9 × 24.8 cm. Staatsgalerie Stuttgart, Graphische
Sammlung (C 1954/GL 319) 53
2.13 Sturm postcard, Rudolf Bauer, Presto I 54
2.14 Marc Chagall, The Cattle Dealer (Der Viehhändler), 1911. Oil
on canvas, 97.1 × 202.5 cm. Kunstmuseum Basel (2213). © Marc
Chagall/Bildupphovsrätt 2021 55
2.15 Marc Chagall, Half-Past Three (The Poet) (Halb vier Uhr),
1911. Oil on canvas, 195.9 × 144.8 cm. Philadelphia Museum of
Art (1950-134-36). © Marc Chagall/Bildupphovsrätt 2021 56
2.16 Alexander Archipenko, Female Figure (Weibliche Figur), 1916. Cast
stone, H: 102 cm. Museum Rietberg, Zürich (REU 801) 57
2.17 Jacoba van Heemskerck, Houses in Suiderland, Drawing No. 13
(Häuser in Suiderland, Zeichnung Nr. 13), 1914. Coloured ink, 48 ×
63 cm. Kunstmuseum Bern (A 8361) 59
2.18 Unknown photographer, Oskar Kokoschka in the Graphikzimmer at
Potsdamer Straße 134a, Berlin, 1916 66
2.19 Wassily Kandinsky, Painting with white form (Bild mit weisser
Form), 1913. Oil on canvas, 120.3 × 139.8 cm. Kunstmuseum
Den Haag (0334729), long-term loan from the Guggenheim
Museum, New York 68
3.1 Gabriele Münter, The Way out of the Wood (Waldweg), 1910–
1919. Oil on glass, 10 × 15 cm. Moderna museet, Stockholm (NM
5405). © Gabriele Münter/Bildupphovsrätt 2021 87
3.2 Nell Walden, The three Wise Men from the East (Die drei Weisen
aus dem Morgenlande), copy after Swedish folk art, 1915. Reverse
glass painting, 15 × 20 cm. Kunstmuseum Bern (G 1995) 88
3.3 Sturm postcard, Sturm Artist XIV: Nell Walden (Sturm Künstler
XIV: Nell Walden), 1916. Unknown photographer (possibly Marta
Wolff). Landskrona Museum (LAMF018508) 91
3.4 Nell Walden, Vaults (Gewölbe), 1916. Reverse glass painting, 14 ×
15.3 cm. Kunstmuseum Bern (G 1999) 94
3.5 Front page of Der Sturm, vol. 9, no. 1, 1918, with Nell Walden’s
Drawing (Zeichnung) 95
3.6 Nell Walden, Composition (Komposition), 1917. Oil on canvas, 65 ×
47 cm. Moderna Museet, Stockholm (NM 5410) 96
3.7 Nell Walden, Glass Painting 42 – Two Black Forms (Glasbild 42 –
Zwei schwarze Formen), 1918. Reverse glass painting and embossed
gold paper, 34.9 × 27.9 cm. Private collection 97
3.8 Nell Walden, Tempera on Silver (Tempera auf Silber), 1917. Tempera
on silver paper, 27 × 23 cm. Landskrona Museum (LAM018032) 98
3.9 Nell Walden, painting on Herwarth Walden’s book Sünde, 1918 99
3.10 Nell Walden, Arabic Dreams (Arabische Träume), 1919. Tempera on
wood, 50 × 32 cm. Landskrona Museum (LAM014209) 100
3.11 Nell Walden, Myself (Ich selbst), 1920. Tempera on Pavatex, 48 × 34
cm. Kunstmuseum Bern (G 2005) 101
3.12 Jacoba van Heemskerck, Composition XXIV (Compsitie XXIV),
1921. Woodcut, 41.2 × 27.6 cm. Stedelijk Museum, Amsterdam
(A 2518) 102
 Figures xi
3.13 Nell Walden, Passion (Leidenschaft), 1918. Oil on canvas,
100 × 80.5 cm. Moderna museet, Stockholm (NM 5183) 103
3.14 Nell Walden, Forces (Kräfte), 1921. Oil on canvas, 96 × 96 cm.
Kunstmuseum Bern (G 2006) 104
3.15 Nell Walden, Seaweed (See-Algen), 1923. Tempera, 32 × 24 cm.
Landskrona Museum (LAM018037) 105
3.16 Nell Walden, Composition, presumably 1920s. Pastel and tempera
on paper, 27.5 × 22.5 cm. AKO Kunststiftelse 106
3.17 Nell Walden, Arabesques (Arabesken), 1921. Reverse glass painting,
39 × 29 cm. Landskrona Museum (LAM017057) 108
3.18 Nell Walden, Composition in red (Komposition in rot), 1928. Oil on
canvas, 63 × 45 cm. Landskrona Museum (LAM014180) 112
3.19 Nell Walden, Mitsou’s Fan Dance (Fächertanz der Mitsou),
1955. Sgraffito, 47 × 29 cm. Landskrona Museum (LAM018054) 114
3.20 Nell Walden, Japonaise 1, 1964. Tempera. Landskrona Museum
(LAM014177) 115
3.21 Nell Walden, Memory of “Tiveden” in Sweden (Erinnerung an
“Tiveden” in Schweden), 1964. Tempera, 27 × 21 cm. Landskrona
Museum (LAM014583) 116
3.22 Nell Walden, painted bowl in stoneware, n.d. Landskrona Museum
(LAM018279) 117
4.1 Martel Schwichtenberg, Portrait Nell Walden, 1931. Oil painting,
45 × 35 cm. Landskrona museum (LAM014236) 129
4.2 Frieda Riess, Nell Walden, c. 1926 130
4.3 Wanda von Debschitz-Kunowski, Nell Walden in silver dress, 1927.
Landskrona museum (LAMF018492) 132
4.4 Atlantic Photo-Co, Nell Walden in her studio, c. 1926 136
4.5 Alice Matzdorff (attributed to), nineteenth-century face mask from
the Torres Strait Island, Australia, late 1920s/early 1930s 138
4.6 Alice Matzdorff, Ibibio ancestor figures, Nigeria, late 1920s/early 1930s 139
4.7 Alice Matzdorff (attributed to), ancestor figures, adu zatua, Nias,
late 1920s/early 1930s 140
4.8 Atlantic Photo-Co, Nell Walden in her home, 1926 142
4.9 Wanda von Debschitz-Kunowski, Nell Walden wearing Sonia
Delaunay’s simultaneous fashion, c. 1927 145
4.10 Atlantic Photo-Co, Nell Walden in fur-brimmed coat, late 1920s/
early 1930s 147
4.11 Yva, Nell Walden bejewelled, 1928 or 1930 148
4.12 Yva, Nell Walden’s hands with jewellery, late 1920s/early 1930s. 149
4.13 Yva, Nell Walden with statuette, late 1920s/early 1930s 150
4.14 Yva, Nell Walden with Torres Strait face mask, c. 1928 152
4.15 Yva, Nell Walden, late 1920s/early 1930s 154
4.16 Yva, Nell Walden holding sculpture by William Wauer, late 1920s/
early 1930s 155
4.17 Yva, Nell Walden and sculpture by William Wauer in double
exposure, late 1920s/early 1930s 156
5.1 Jean Metzinger, Landscape (Composition Cubiste), 1912. Oil on
canvas, 51.44 × 68.58 cm. Harvard Art Museums/Fogg Museum
xii Figures
(1960.735), Gift of Mr. and Mrs. Joseph H. Hazen. © Jean
Metzinger/Bildupphovsrätt 2021 172
5.2 Heinrich Campendonk, The Yellow Animal (Das gelbe Tier),
c. 1914. Oil on canvas, 90 × 80 cm. Kunstmuseum, Den Haag
(0333092). © Heinrich Campendonk/Bildupphovsrätt 2021 177
5.3 Béla Kádár, The Cow/Composition (Die Kuh/Komposition), c.
1917. Oil on canvas, 68 × 104 cm. Saarlandmuseum, Moderne
Galerie (NI 1237). © Béla Kádár/Bildupphovsrätt 2021 184
5.4 Cover of the exhibition catalogue Der Sturm. Herwarth Walden
und die ­Europäische Avantgarde, Berlin 1912–1932 with Kurt
Schwitters’ collage Dem Sturm gewidmet (1919) 185
5.5 Jean Metzinger, Landscape, 1912. Oil on canvas, 59.2 × 73 cm.
Art Institute of Chicago (1977.505), gift of Mrs. Sigmund W.
Kunstadter in memory of Sigmund W. Kunstadter. © Jean Metzinger/
Bildupphovsrätt 2021 188
5.6 Paul Klee, Memory of a Garden (Erinnerung an einen
Garten), 1914. Watercolour and pencil on paper and cardboard,
62.3 × 52.3 cm. Kunstsammlung Nordrhein-Westfalen, Düsseldorf 189
5.7 Gino Severini, The Train between the Houses (Study No. 2) (Der
Zug zwischen den Häusern (Studie Nr. 2), 1912–1913. Pastel
and charcoal on paper, 52.5 × 64.5 cm. Hamburger Kunsthalle,
Kupferstichkabinett (1954–228). © Gino Severini/Bildupphovsrätt 2021 190
5.8 August Macke, With Yellow Jacket (Mit gelber Jacke),
1913. Watercolour and pencil (preliminary sketch), 29.8 × 45 cm.
Museum Ulm, Modern Art Collection (1954.2165) 191
5.9 Albert Gleizes, Montreuil Landscape (Paysage de Montreuil),
1914. Oil on canvas, 73.5 × 90 cm. Saarlandmuseum, Moderne
Galerie (NI 1273). © Albert Gleizes/Bildupphovsrätt 2021 192
5.10 Carlo Mense, Horsemen at a Watercourse (Reiter am Strom),
1912. Oil on canvas, 98.5 × 76.3 cm. Moderna Museet, Stockholm
(NM 5403) 193
5.11 Joseph Pobereschsky, Still Life (Nature morte), 1923. Oil on canvas
and collage, 54 × 49 cm. Moderna Museet, Stockholm (NM 5407) 194
5.12 Maria Uhden, Cirkus, n.d. Wood cut, 23.4 × 19.1 cm. Moderna
museet, Stockholm (NMG 111/1958) 195
5.13 Nell Walden’s signed ex-libris, n.d. Landskrona
museum (LAMF1005981) 197
5.14 William Wauer, Nell Walden, 1918. © William Wauer/
Bildupphovsrätt 2021 198
5.15 Oskar Kokoschka, Portrait of Nell Walden (Bildnis Nell Walden),
1916. Blue chalk on paper, 46 × 33 cm. Kunstmuseum Bern
(A 8379). © Fondation Oskar Kokoschka/Bildupphovsrätt 2021 199
5.16 Béla Kádár, Portrait of Sleeping Nell Walden (Bildnis Nell Walden
schlafend), n.d. Kunstmuseum Bern (A 8370). Coloured crayon on
paper, 38 × 24.7 cm. © Béla Kádár/Bildupphovsrätt 2021 200
Acknowledgements

This book has paid attention to different forms of collaborations and emphasised the
ways in which any creative achievement is dependent upon collective activities for
its becoming. The importance of supportive work, collaborations, and affirmative
contexts certainly holds true for any research publication too.
Since I first took an interest in Nell Walden I have spent many hours in the Nell
Walden archive in the Landskrona museum. I cannot stress enough the importance
of the generous welcome and support of the museum staff for the archival work of
this book. I am deeply indebted to Birthe Wibrandt and Annelie Ingvarsson, who
have shared not only their time and knowledge but also their working spaces at the
museum with me. I am equally grateful to Elisabeth Arvidsson, Åsa Karlsson, Carita
Hermansson and Ulrika Odénius for their interest in and support of my work. If
Christer Strandberg had not shared his notes on Nell Walden’s articles in the Korre-
spondenten Landskrona Tidning, my analysis of her undertakings during the First
World War had been much more time consuming.
Access to primary sources and archival material has been key in the work with
this book. I am grateful to Rainer Enders for sharing findings from his archival re-
search on Der Sturm with me. I am dearly thankful to the members of Nell Walden’s
family, who not only warmly welcomed me in their home but also let me return to the
office with a suitcase full of primary sources on loan. I cannot thank enough Andreas
Schlothauer, who gave me access to extensive material from his archival research in
Switzerland, a generosity of a kind I had never before encountered in the academic
world.
I have also benefitted from the professionalism of the staff at the Bundesarchiv,
Landesarchiv, and Staatsbibliothek zu Berlin, the Solomon R. Guggenheim Museum
archives, New York, and the archive at Nationalmuseum, Stockholm. At Kunstmu-
seum Bern, I was generously welcomed by Claudine Metzger and Regina Bühlmann.
Regina Bühlmann has also offered vital support as regards archival material in the
museum.
The main part of the preparatory archival work for this book was conducted during
a previous research project financed by the Swedish Research Council, which also
enabled me to contribute to a travelling exhibition on Nell Walden and Der Sturm or-
ganised by the Mjellby konstmuseum, Halmstad. I am thankful to Karolina Petersson
and Annelie Tuveros for inviting me to partake in the exhibition work and catalogue.
Grants from Magn. Bergvalls stiftelse and Stiftelsen Längmanska kulturfonden
have secured necessary research travels and the numerous illustrations in the book.
xiv Acknowledgements
Generous grants from Nell Waldens fond and Osvald Arnulf Olssons donationsfond
enabled a research leave and invaluable concentrated writing time.
I am grateful for the professional copy-editing of Doreen Kruger, who helped me
phrase my arguments more clearly. I am sincerely thankful to Isabella Vitti and Katie
Armstrong at Routledge, whose professionalism I admire and whose patience with
postponed deadlines during the pandemic year 2020–2021 have exceeded my expec-
tations. I also would like to thank the two anonymous reviewers, who provided both
critical and affirmative feedback on my text, which was very helpful when finalising
the manuscript.
During the years of writing this book I have been fortunate to have supportive
colleagues at Stockholm University. I am thankful to Anna Dahlgren, who read
a draft chapter and invited me to present my research at the Higher seminar for
photo research. Malin Holdar, Sabrina Norlander Eliasson, and Anna Bortolozzi
have provided me with a truly supportive professional milieu during the last phase of
this work. Thank you for being great minds! Malin Holdar, inspiring colleague and
generous friend, has read the manuscript on several occasions and provided me with
invaluable support and critical comments.
Being part of a family where domestic labour is equally shared has been pivotal
for the conclusion of this book. Jens, thank you ever so much, as always, for coffees,
dinners, and champagne, and for being a modern husband and present father. My
most heartfelt thanks goes to my loving, funny, and brilliant daughters, Hedda and
Harriet, who during the hectic time of concluding this book have seen less of their
mother than is reasonable. I dedicate this book to my family.
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