In the western suburbs of the 2nd district of Budapest, on Pasaréti Square, is one of the more striking examples of interwar modernist architecture in Hungary: the Franciscan Church of St. Anthony of Padua. The innovative nature of the design is apparent if we compare it with other churches built in Hungary shortly before, such as the Church of the Sacred Heart of Jesus in Győr of 1929, or the Church of St. Emeric in Balatonalmádi (1930). We can also gain a sense of the striking addition it made to the cityscape when we view it in its environs, a low-density neighbourhood of villas. It is commonly regarded as one of the most important churches built in interwar Hungary, and as evidence of the embrace by the Hungarian Catholic church of modernity. Consecrated in October 1934, it might have been the first example of functionalist church architecture in Hungary, had it not been for the tumultuous process of its approval that delayed its completion. As a result, the Church of the Sacred Heart of Jesus by Bertalan (1901–1971) and Aladár Árkay (1868–1932) is generally held to have that distinction.
Ernst Nepo‘s Family Portrait (The Keller Family) is considered one of the most important social portraits in Austrian art between the wars. In it, the Innsbruck architect Wilhelm Keller (1886–1934) and his wife Anni stage their social self-image and idea of education through their daughters. On first sight, the painting presents itself as a sharp photographic snapshot. In contrast to previous interpretations, however, the aim here is not merely to observe this style and its pretended spontaneity, but to consider the way the work also indicates new ideas of childhood and youth in the interwar period. What image of the adolescent appears, with the girls Ditta and Dora larger than life in front of the viewer? What role do they have within their family? Moreover, what do the architectural toys indicate?