Tilly Losch is commemorated as an absent presence through two 1930s interiors commissioned by her then husband the art collector Edward James: Paul Nash’s design for a bathroom in James’s London town house and a patterned stair carpet ostensibly based on Losch’s wet footprints on leaving her bath. The Nash bathroom, no longer extant, has been recreated for exhibition purposes and the footprint carpet is now housed in West Dean College. Alongside accounts of these interior designs, where Losch appears elusively as the traces of her corporeal form, this essay juxtaposes histories of dance as a means of retrieving Losch’s persona as a professional performer. Well-known in her native Vienna (and subsequently internationally) as a ballet and contemporary dancer, during the 1930s Losch collaborated with the American designer Norman Bel Geddes on a short silent film of her ‘Dance of Hands’. As an aspect of Losch’s dance practice, this film is indicative of ways in which women performers of the period actively participated in the artistic avant-garde, deploying the iconography of body parts as a demonstration of feminine agency. For historians of visual culture, tracking traces of Tilly Losch across interiors and film prompts questions more broadly concerning the significance of different disciplinary historiographies with regard to both modernism and gender.

中文翻译：

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Tilly Losch：通过室内设计和电影追溯历史

蒂莉·洛希 (Tilly Losch) 因她当时的丈夫、艺术收藏家爱德华·詹姆斯 (Edward James) 委托制作的两件 1930 年代室内设计作品而被纪念为缺席：保罗·纳什 (Paul Nash) 为詹姆斯伦敦联排别墅设计的浴室和图案楼梯地毯，表面上是基于洛希离开浴缸时留下的湿脚印。不再存在的纳什浴室已被重建用于展览目的，足迹地毯现在位于西迪恩学院。除了这些室内设计的描述之外，Losch 难以捉摸地表现为她身体形态的痕迹，这篇文章并列了舞蹈历史，作为恢复 Losch 作为专业表演者角色的一种手段。在她的家乡维也纳（随后在国际上）以芭蕾舞和现代舞者而闻名，在 1930 年代，Losch 与美国设计师 Norman Bel Geddes 合作制作了一部关于她的“手之舞”的无声短片。作为洛施舞蹈实践的一个方面，这部电影表明了那个时期的女性表演者积极参与艺术前卫的方式，将身体部位的图像作为女性能动性的展示。对于视觉文化历史学家来说，在室内和电影中追踪蒂莉·洛希的踪迹，会引发更广泛的问题，即不同学科史学在现代主义和性别方面的重要性。部署身体部位的图像作为女性能动性的展示。对于视觉文化史学家来说，在室内和电影中追踪蒂莉·洛希的踪迹，会引发更广泛的问题，即不同学科史学在现代主义和性别方面的重要性。部署身体部位的图像作为女性能动性的展示。对于视觉文化史学家来说，在室内和电影中追踪蒂莉·洛希的踪迹，会引发更广泛的问题，即不同学科史学在现代主义和性别方面的重要性。