This thesis is concerned with the artists Tora Vega Holmström and Adolf Hölzel. Hölzel taught students in painting in the Dachau art colony, where TVH attended his classes in 1903. A thorough investigation of her notes provides us with novel information concerning his teaching and his theoretical outlook on art. Their correspondence extended 30 years past her stay in Dachau and over the years their relationship evolved into a cordial friendship between two likeminded colleagues. Tora Vega Holmström often came to visit Adolf Hölzel in Stuttgart, where he had come to teach at the art academy. She became a member of the group of avant-garde artists known as the Hölzel circle („Hölzel-Kreis“). On a visit to Sweden in 1911, Adolf Hölzel came into contact with the Swedish progressive educational movement at the community college ”Hvilan” in Scania, which was led by Tora Vega Holmströms father. We establish that through Hölzel, there was an indirect influence from this institution on the methods of teaching employed in the early Bauhaus in Weimar. Throughout the 1920s, Tora Vega Holmström spent time in France and became a intermediary between the cubists in Paris and the Hölzel circle in Stuttgart. Through a brief analysis of some of her works we show how firmly her style of painting is grounded in Hölzel’s formalism and his theories of colour.
| Identifer | oai:union.ndltd.org:UPSALLA1/oai:DiVA.org:uu-467927 |
| Date | January 2020 |
| Creators | Schuff, Karin |
| Publisher | Uppsala universitet, Konstvetenskapliga institutionen |
| Source Sets | DiVA Archive at Upsalla University |
| Language | Swedish |
| Detected Language | English |
| Type | Student thesis, info:eu-repo/semantics/bachelorThesis, text |
| Format | application/pdf |
| Rights | info:eu-repo/semantics/openAccess |
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