Edited by Megan Brandow-Faller and Laura Morowitz, Erasures and Eradications in Modern Viennese Art, Architecture and Design is a collection of essays that challenge the received narrative on the artists, exhibitions, and interpretations of Viennese modernism. CRAACE team members Matthew Rampley and Julia Secklehner are among the contributors.
A new essay by Julia Secklehner, ‘Crossing Borders and Period Boundaries in Central European Art: The Work of Anna Lesznai (ca. 1910–1930),’ has been published in the volume Rethinking Period Boundaries: New Approaches to Continuity and Discontinuity in Modern European History and Culture, edited by: Lucian George and Jade McGlynn.
Framed by soft hills and picturesque huts, November’s Artwork of the Month transports us to the countryside of eastern Czechoslovakia in a painting by Anna Lesznai (1885-1967). Born and raised as the daughter of an ennobled Hungarian-Jewish family in Körtvélyes, then Upper Hungary, Anna Lesznai was one of the core female members of the Hungarian pre-war avant-garde. In the context of the Arts and Crafts revival at the turn of the twentieth century, which found enthusiastic reception in late-Habsburg Hungary, her craftwork gained much attention, alongside her poetry and fairy-tales for children. However, Lesznai also produced graphic designs, painted, taught at Dezső Orbán’s Atelier art school in Budapest in the 1930s and successfully participated in a number of exhibitions. Forced to emigrate after the rise of the Horthy regime because of her involvement in the Hungarian Republic of Councils in 1919, Lesznai lived between Vienna and the family estate in Körtvélyes (from 1920 Hrušov, Czechoslovakia; part of Slovakia since 1993). Based on an interest in folk art and peasant culture from the region, which she had begun to study in the early 1900s, Lesznai produced numerous watercolours in the 1920s and 30s which focused on life in the villages surrounding her estate and received enthusiastic reception when exhibited in Vienna.