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until they split in 1905. She was the only woman artist with a monogram within the group, but was not granted voting rights. In 1902, Lucsch-Makowsky was featured prominently in the 14th Vienna
Secession exhibition, also known at the Beethoven exhibition. In 1903, she contributed color woodcuts to a
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and other places, and to which Luksch-Makowsky would later credit her ability with languages and fluency in
English, French, and German. Although Makowsky's childhood included training for her assumed future as wife, mother and homemaker, her father acknowledged and encouraged her artistic talents.
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northeast of Dachau, where she met her future husband, the
Viennese sculptor Richard Luksch, in 1900. She accepted Luksch's proposal with the promise that should be able to return to Russia at any time, and would continue to work as an independent artist. Their son, Peter Luksch, was born in 1901.
155:(Woman's Fate), which art historians have suggested foreshadows her struggle as a single parent. Indeed, when she and Luksch divorced in 1921 she was left to support her three sons on her own.
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In 1907, the
Lukschs moved to Hamburg after Richard Luksch was made a professor at the School of Arts and Crafts. it was there that Luksch-Makowsky began work on her sculpture,
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Her ability to support her family was an issue throughout the rest of her life, although she did accept commissions under the
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Ewald, Simone (2017). "The Artist Elena Luksch-Makowsky". In
Malycheva, Tanja; WĂĽnsche, Isabel (eds.).
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Luksch-Makowsky moved to Vienna shortly after her marriage, and regularly exhibited with the
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The Artist Elena Luksch-Makowsky:: Between St. Petersburg, Munich, Vienna, and
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Makowsky was born in 1878 in Saint
Petersburg, and was the daughter of
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340:"Werke – Elena Luksch-Makowsky – Künstler – Digitale Sammlungen"
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City Of Women: Female artists in Vienna from 1900 to 1938
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and designed three reliefs for the main façade of the
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162:(Reich Chamber of Fine Arts). Following the
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