Paula Modersohn-Becker seems to have lived several lives. The first was, of course, her life on this planet, between 1876 and 1907 - a short, tumultuous life, a constant struggle with the world around her, but primarily with herself, as a woman and as an artist. She left behind more than 700 paintings and 1000 drawings. The German Expressionists gave her a second life, considering her as one of the representative artists of the current and dedicating to her, in 1927, the first museum of a female artist in the history of art. The Nazi regime removed her works from museums and declared them to belong to 'degenerate art'. The third life seems to be happening in the last few decades. Paula Modersohn-Becker is reconsidered not only as one of the important artists of the beginning of the 20th century, but also as a model of struggle for female affirmation and breaking of artistic and social conventions and prejudices. The film 'Paula' (2016) by the German director Christian Schwochow is part of this revival of interest and artistic and media recovery of the painter, along with important exhibitions and documentary films.
'Paula' is a fairly detailed biopic, that focuses on the last seven years of the artist's life. We find her at the beginning of the film attending the (segregated, for women) painting lessons at the artists' colony at Worpswede. Her artistic talent and ambitions exceed the artistic and ideological limits imposed by the realism and naturalism promoted by the school and the social conventions that wanted to reduce her to the role of wife and mother, prohibiting her career as a professional artist, considered suitable only for men. Paula will quickly get into conflict with her teachers, but it is here that she will meet Paul Modersohn, a less talented painter who, however, enjoyed success and financial stability, and the poet Rainer Maria Rilke, who opens her horizons and a encourages her to continue her path as an artist. The film's script offers a slightly different point of view than other biographies regarding Paula and Albert's marriage and relationship. The man, it is claimed, did not understand modern art or his wife's talent, at least at first, but he financially supported her trip and stay in Paris. The crisis of the marriage and the absence of children during the first five years of marriage are resolved by the script in a dramatic manner with the scenes that take place in 1906, when Albert arrives in Paris. It seems to be, for a short time, a happy love story. The man's fears, due to the loss of his first wife, will be however confirmed by the death of Paula, a year later, a few weeks after the birth of their only daughter.
The fate of Paula Modersohn-Becker can be compared to that of several other contemporary artists, who could hardly survive in the environment of the late 19th and early 20th centuries, which was as revolutionary in art as it was misogynistic in the attitude of most artists, collectors and art critics towards women. Like Camille Claudel in sculpture, Paula Modersohn-Becker had a short active life, but left a significant body of work. In Christian Schwochow's film, Paula's struggle with the artistic and social environment is well highlighted, although the atmosphere is not gloomy. This is largely due to the acting creation of Carla Juri, an actress I do not remember having seen before, who brings to the screen a luminous and optimistic character, sure of her talent, determined to realize herself both as an artist and as a woman. Her belief that it is possible for a woman to fulfill both roles - in art and in society - captivates viewers, even if the ending is not a happy one. Visually, the film is very well designed, with many excellently filmed studio or nature painting scenes. The image of the painter carrying her easel like a cross in the fields or on the streets of the village will remain in the memory of those who saw the film. Art history recovered Paula Modersohn-Becker with her pioneering talent, courage and ability to understand people and represent their humanity in her portraits. 'Paula' - the film pays her a fitting tribute.
'Paula' is a fairly detailed biopic, that focuses on the last seven years of the artist's life. We find her at the beginning of the film attending the (segregated, for women) painting lessons at the artists' colony at Worpswede. Her artistic talent and ambitions exceed the artistic and ideological limits imposed by the realism and naturalism promoted by the school and the social conventions that wanted to reduce her to the role of wife and mother, prohibiting her career as a professional artist, considered suitable only for men. Paula will quickly get into conflict with her teachers, but it is here that she will meet Paul Modersohn, a less talented painter who, however, enjoyed success and financial stability, and the poet Rainer Maria Rilke, who opens her horizons and a encourages her to continue her path as an artist. The film's script offers a slightly different point of view than other biographies regarding Paula and Albert's marriage and relationship. The man, it is claimed, did not understand modern art or his wife's talent, at least at first, but he financially supported her trip and stay in Paris. The crisis of the marriage and the absence of children during the first five years of marriage are resolved by the script in a dramatic manner with the scenes that take place in 1906, when Albert arrives in Paris. It seems to be, for a short time, a happy love story. The man's fears, due to the loss of his first wife, will be however confirmed by the death of Paula, a year later, a few weeks after the birth of their only daughter.
The fate of Paula Modersohn-Becker can be compared to that of several other contemporary artists, who could hardly survive in the environment of the late 19th and early 20th centuries, which was as revolutionary in art as it was misogynistic in the attitude of most artists, collectors and art critics towards women. Like Camille Claudel in sculpture, Paula Modersohn-Becker had a short active life, but left a significant body of work. In Christian Schwochow's film, Paula's struggle with the artistic and social environment is well highlighted, although the atmosphere is not gloomy. This is largely due to the acting creation of Carla Juri, an actress I do not remember having seen before, who brings to the screen a luminous and optimistic character, sure of her talent, determined to realize herself both as an artist and as a woman. Her belief that it is possible for a woman to fulfill both roles - in art and in society - captivates viewers, even if the ending is not a happy one. Visually, the film is very well designed, with many excellently filmed studio or nature painting scenes. The image of the painter carrying her easel like a cross in the fields or on the streets of the village will remain in the memory of those who saw the film. Art history recovered Paula Modersohn-Becker with her pioneering talent, courage and ability to understand people and represent their humanity in her portraits. 'Paula' - the film pays her a fitting tribute.