1938 was an important year in the history of Hungary’s authoritarian interwar regime. The nine hundredth anniversary of the death of King Stephen I (Saint Stephen, c. 975–1038), Hungary’s first king, was declared a Jubilee Year, and a long series of celebrations and commemorations were organised on the occasion. One of the most significant projects was the Ruin Garden in Székesfehérvár: a new memorial site set up to preserve and make accessible the ruins of the basilica Stephen had founded in the town in the early eleventh century. The garden was flanked by a mausoleum built to house a sarcophagus believed to have been the king’s. Behind the sarcophagus, elevating the sacral aura of the space, the wall was divided by a tall and imposing stained-glass window. Its maker, Lili Sztehlo (1897–1959), was the most prominent artist working in this technique in interwar Hungary.
An article by CRAACE Principal Investigator Matthew Rampley, ‘Networks, Horizons, Centres and Hierarchies: On the Challenges of Writing on Modernism in Central Europe’ has been published in the journal Umění.
CRAACE researchers will be taking part in online conferences in April 2021.
On 15 April, CRAACE PI Matthew Rampley will present his paper ‘The Search for Spirit and the Late Writings of Max Dvořák’ at the conference The Influence of the Vienna School of Art History II, organised on the occasion of the 100th anniversary of Max Dvořák’s death by the Institute of Art History, Czech Academy of Sciences in Prague.
The Black Boy was the most commercially successful work of the Czech ceramicist Helena Johnová (1884–1962) with nearly 900 sold items of various colour versions. The black figure with exaggerated facial features, however, may well raise eyebrows today, but also a number of questions. These are worth exploring in connection with interwar art and design in Central Europe, as well as with current political issues. The most obvious ones relate to ethnic and gender stereotypes, which still resonate today thanks to the #BlackLivesMatter and #metoo movements. Many people, even academic scholars, argue that the current Czech and, by extension, Central European society has never had problems with racism or sexism, and that therefore issues highlighted by these movements are irrelevant in this geographical and political context. If we look at Johnová’s work more closely, we can, however, point to deep-rooted beliefs that shape today’s understanding of race and racial equality; we can question the assumption that because there were no colonies, there were no stereotypical views of race.