Portretul lui Birgit Jürgenssen

Cele 1 cele mai faimoase picturi ale lui Birgit Jürgenssen, fiecare unică în felul ei

Actualizat Noiembrie 2026 · clasat în funcție de scorul nostru de popularitate (căutări, vizite și comenzi pentru fiecare operă) · 1 lucrări ale lui Birgit Jürgenssen în catalogul nostru

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[Shoe Chair] (1974) este pictura lui Birgit Jürgenssen care atrage cele mai multe priviri; originalul aparține MAK – Muzeul de Artă Aplicată din Viena, Viena. Dintre cele 1 opere ale lui Birgit Jürgenssen din catalogul nostru, acestea 1 sunt cele mai celebre, fiecare fiind o piesă unică, prezentată împreună cu anul creării, muzeul deținător și motivul pentru care aceasta rămâne memorabilă.

1949 – 2003, Vienna Cele mai multe lucrări: MAK – Muzeul de Artă Aplicată din Viena
[Shoe Chair] (1974) de Birgit Jürgenssen1. [Shoe Chair] 1974

Cele mai importante 10 picturi ale lui Birgit Jürgenssen, prin ochii galeriei

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[Shoe Chair] (1974) de Birgit Jürgenssen

[Shoe Chair]

1974 · Sculpture · MAK – Muzeul de Artă Aplicată din Viena, Viena

Birgit Jürgenssen's "Shoe Chair," created in 1974, is more than just a sculptural juxtaposition of a chair and a stiletto; it’s a potent statement born from the fertile ground of feminist art movements and a profound exploration of gender roles, physicality, and the very nature of objectification. Emerging from Vienna's vibrant avant-garde scene in the 1970s, Jürgenssen, a key member of DIE DAMEN collective – alongside figures like Evelyne Egerer…

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Muzeele care păstrează originalele lui Birgit Jürgenssen

Muzeul care deține cele mai multe dintre picturile prezentate pe această pagină.

Muzee Oraș Lucrări lui Birgit Jürgenssen Picturi din această listă
MAK – Muzeul de Artă Aplicată din Viena, VienaMAK – Muzeul de Artă Aplicată din Viena Viena 1 [Shoe Chair]

Birgit Jürgenssen de-a lungul anilor: originalele unice ale fiecăruia

Toate originalele datate ale lui Birgit Jürgenssen prezentate aici aparțin unui singur an, 1974: acestea sunt prezentate în ordinea celebrității.

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Picturile lui Birgit Jürgenssen: întrebări pentru galerie

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[Shoe Chair] (1974)

La ce vârstă a creat Birgit Jürgenssen [Shoe Chair]?Află răspunsul

25 ani: [Shoe Chair] datează din 1974, iar Birgit Jürgenssen s-a născut în 1949.

Câte lucrări ale lui Birgit Jürgenssen sunt cunoscute?Află răspunsul

Catalogul nostru conține 1 lucrări ale lui Birgit Jürgenssen.

Unde pot fi vizualizate originalele celor mai faimoși Birgit Jürgenssen?Află răspunsul

În principal în MAK – Muzeul de Artă Aplicată din Viena (Viena). Tabelul cu muzee de mai sus le enumeră pe toate.

Birgit Jürgenssen: un portret al artistului

Birgit Jürgenssen: A Pioneer of Feminist Body Art

Birgit Jürgenssen (1949 – 2003) was an Austrian photographer, painter, graphic artist, curator and teacher who specialized in feminine body art with self-portraits and photo series. She emerged from the Viennese avant-garde scene of the late 1960s and early 1970s, a period marked by intense debates surrounding gender roles and artistic expression. Her work stands apart for its uncompromising exploration of female subjectivity and its critique of societal constraints—themes that continue to resonate with contemporary artists and scholars alike.
  • Early Life and Education:
    • Born in Vienna, Austria in 1949, Jürgenssen pursued her artistic education at the University of Applied Arts Vienna between 1968 and 1971. This formative period exposed her to influential figures within Viennese art discourse and instilled a commitment to challenging conventional perspectives.
  • The Magna Feminismus Exhibition:
    • Her breakthrough came in 1975 with participation in the *MAGNA-Feminismus: Kunst und Kreativität* exhibition, organized by Valie Export. This landmark event showcased a diverse range of feminist artworks, and Jürgenssen’s photograph *Housewives’ Kitchen Apron*, featuring a sculpture of an apron in the shape of an oven—a deliberate inversion of domestic iconography—immediately established her reputation as a bold innovator.

Artistic Style and Recurring Themes

Jürgenssen's artistic style was characterized by meticulous detail and psychological depth. She employed photography extensively, often combining it with drawing and sculpture to create multi-layered artworks that interrogated the complexities of female experience. Her recurring motifs—the female body transformed through various mediums—served as a vehicle for confronting issues of identity, vulnerability, and resistance. Notably, her self-portraits frequently depicted women adorned in furs or masks, symbolizing an attempt to escape oppressive societal codes and embrace primal instincts. The image *I Want Out Of Here!*, captured in 1976, powerfully conveyed the feeling of entrapment—a central preoccupation throughout her oeuvre.
  • Notable Works:
    • Among her most celebrated pieces are *10 Days – 100 Photos* (1980), a series documenting the daily life of women in Vienna, and *Untitled (Self with Little Fur)* (1974–77), which exemplifies her fascination with exploring feminine vulnerability through symbolic imagery. Her sculptures, such as *Nest* (1979/2002)—a meticulously crafted piece featuring a nest filled with two eggs—further underscored her commitment to confronting societal expectations regarding motherhood and femininity.

Teaching and Curatorial Contributions

Jürgenssen’s influence extended beyond her own artistic practice. She served as lecturer and curator at the University of Applied Arts Vienna and the Academy of Fine Arts Vienna, nurturing a new generation of artists interested in feminist perspectives. Her estate—managed by Hubert Winter—included a vast collection of drawings, watercolor paintings, photogrammes, screens, solar graphics, and objects from various collections—a testament to her prolific creativity and intellectual curiosity.

Legacy and Recognition

Birgit Jürgenssen’s photographic works numbered 250 and were exhibited in a retrospective held by the Sammlung Verbund and the Bank Austria Art Forum. Her contribution to feminist art was recognized as “outstanding international representatives of the feminist avant-garde,” cementing her place within the history of contemporary art. Her legacy continues to inspire artists and scholars who grapple with questions of gender, identity, and artistic expression—a testament to the enduring power of her uncompromising vision.
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