George Mayer-Marton and His Mural in Oldham: Heritage under Threat

Not long ago, this blog featured a review of Their Safe Haven, a book that explores the life and work of fourteen Hungarian artists who settled in Britain in the 1920s and 1930s. One of them, George (György) Mayer-Marton (1897–1960), became a senior lecturer at Liverpool College of Art, and received several commissions to decorate churches in England with murals. The Crucifixion in the Church of the Holy Rosary in Oldham is now under severe threat. The church has been closed since 2017, and the artwork is at risk of being damaged by vandalism, water leaks, as well as by the eventual demolition or redevelopment of the building. The artist’s great-nephew, Nick Braithwaite, is leading a campaign to save the mural with the support of SAVE Britain’s Heritage, which has issued an appeal to restore the work and have it listed as a protected monument.

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Artwork of the Month, June 2020: A Walk Through the Metropolis by Erika Giovanna Klien (1923)

The artwork of the month for June 2020 is A Walk Through the Metropolis by Erika Giovanna Klien (1900–1957). It is perhaps the most ambitious and imposing example of the short-lived Viennese art movement known as ‘Kinetism’ that flourished in the early 1920s. Executed in gouache on paper, it consists of seven one meter-square panels laid alongside each other resulting in a work that is seven meters in length. The city it depicts is a site of thrilling, dynamic encounters, between the spectator and the physical environment, between buildings, and between the spectator and unspecified others on the street. The metropolis is a place of life and energy, and the work communicates, too, a sense of urban noise. Yet who was Klien, and what was Kinetism?

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Neighbours: An Austrian-Czech History Book: Book review

Relationship status: it’s complicated. Summarised in the vernacular of the virtual age, Austrian-Czech relations have long been characterised as uneasy, bolstered by a range of stereotypes established across the past centuries – the Czech as the beer-swelling yokel ‘Václav’, the Austrian as the kaisertreu snobbish brute, or a country bumpkin with right-wing sentiments. Rather than to divulge in these exaggerated characterisations any further – which are often malicious, sometimes humorous, and occasionally contain a grain of truth – Neighbours: An Austrian-Czech History Book draws attention to the joint history of the two countries in a decidedly more positive light.

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Max Dvořák and the Vienna School of Art History

To mark the 100th anniversary of the death of Max Dvořák the Institute of Art History of the Czech Academy of Sciences in Prague is staging a conference in 2021 on the legacy of the Vienna School of Art History. Click here for the call for papers.

Max Dvořák (1874-1921) was a pioneer of what has subsequently been referred to as ‘art history as the history of ideas’ (Geistesgeschichte). Where art historians had previously been primarily concerned with the evolution of art’s formal languages (the history of style) or with purely factual information about the production of artworks and the lives of the artists who made them, Dvořák sought to anchor the interpretation of artworks in an understanding of the broader cultural and intellectual currents of their time. He stopped short of espousing a social history of art, but he certainly saw the importance of cultural history for the analysis of works of art. Dvořák has since been criticised for relying too much on vague generalisations about the history of ideas as the background to art, but there is no denying that his essays and lectures, especially those published posthumously in the volume Art History as the History of Ideas (Munich, 1924), were enormously influential on younger generations of art historians, who sometimes argued with each other over how best to preserve his legacy.

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František Kupka: Blue Shape A II, 1919-24

Years of Disarray 1908-1928: Avant-Gardes in Central Europe: Catalogue review

In the autumn of 2018, the Museum of Art in Olomouc staged the exhibition Years of Disarray 1908-1928: Avant-Gardes in Central Europe. It was subsequently staged at the International Centre in Cracow, the Bratislava City Art Gallery and finally the Janus Pannonius Museum in Pécs. It was an ambitious and imaginative exhibition, but initially no catalogue was available, only a short inexpensive guide. Now, after some delay, the full exhibition catalogue has been published, in handsome Czech and English-language editions. In its scale and scope – nearly 700 pages in length and with hundreds of images – the volume is not merely meant as an aid to the exhibition, but as a standard work of reference on central European modernism. In fact, although ostensibly based on the exhibition, it is only loosely connected to it; one loses sight of the original exhibition themes and structure due to the many essays on entirely unrelated topics. It therefore is best treated as standalone publication.

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