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This essay explores the interstices between creativity, procreativity, motherhood, and identity in the works of Marianne Werefkin and some of her contemporaries within German modernism. For the artists Käthe Kollwitz and Paula Modersohn-Becker, artistic creation and motherhood were twin concerns in their self-constructed identities as artists. For Werefkin and Gabriele Münter, the poles of creativity and procreativity were more complexly figured. Whilst mothers and children feature as predominant subject matter in the works of Kollwitz and Modersohn-Becker, and to some extent in the works of Münter, the subject is virtually absent in the works of Werefkin, for whom “art” is the child who sublimates her erotic desire. One day I happened to assist a doctor at a gynecological examination. When the speculum was in place, the doctor showed me the bottom of the diseased womb. She was a woman in childbed, she had just bled in order to give life; after giving birth she had unexpected complications. The horror... a nauseating odor rose to my nose; the linens stained with blood and pus moved my heart... I cared for the sick woman, approaching her each time with a retch. On the third day this woman cried out to me in sorrow that her husband ‘took’ her that very night. Since then physical love has been a monster to me... For four years we have slept side by side. I have remained virgin, he has become virgin again. Between us sleeps our child—art...1 1 “Il m’est arrivé un jour d’assister un médecin dans une auscultation gynécologique. Le miroir placé, le médecin m’a montré le fond de la matrice malade. C’était une accouchée, elle venait de saigner pour donner la vie; après l’avoir donnée, elle pourrissait des complications survenues. L’horreur...une nauséabonde odeur me montait au nez, les linges maculés de sang et pus me tournaient le cœur...Je soignais la malade, chaque fois l’approchant avec un haut le cœur. Au troisième jour, cette femme me criait en hurlant de douleur que son mari l’avait possédée cette nuit même. L’amour physique m’est depuis un monstre.... Il y a quatre

“Between us sleeps our child—art”: Creativity, Identity, and the Maternal in the Works of Marianne von Werefkin and Her Contemporaries