An article by CRAACE Research Fellow Julia Secklehner, ‘Eine andere Moderne? Neue Frauen am Land in the 1930er Jahren,’ has been published in the journal zeitgeschichte.
An article by research fellow Christian Drobe, ‘War Painting and the Soldier as the New Man: Karl Sterrer’s Pilot Portraits and the Ambivalent Face of Heroism during the First World War‘ has just been published in the RIHA Journal.
Es ‘steht ein kleiner Pavillon, und welches Wunder, er ist fertig schon’ – ‘There stands a little pavilion, and what a wonder, it’s already done’ – sang the cabaret artist Hermann Leopoldi on the occasion of the opening of the Austrian pavilion at the Paris World’s Fair in June 1937. He had thus taken his share in the ‘image construction’ of the Austrofascist regime, by hailing one of its landmarks. While civil war was shaking Spain, Stalinist terror was raging in the Soviet Union, and fascist Italy and Nazi Germany had suppressed almost all resistance, Austria appeared consolidated and peaceful. The uprising of the Social Democrats in February 1934 had been crushed, all parties since been banned, the rule of law been eliminated. Nevertheless, communists and socialists continued to resist, and illegal, yet tolerated Nazis successfully undermined the state. The Austrian ‘Ständestaat,’ the Corporate State, as it called itself, was unable to completely control cultural activity; while censorship and repression were nevertheless present, best described in Robert Musil’s words as an ‘evil spiritlessness.’ But even if a subliminal counter-reformation, with its emphasis on the Baroque and the sacred, was the state’s cultural leitmotif, a moderate modernism remained possible. The hesitant toleration of it, combined with a recourse to the imperial past, furthered the contradiction between defining Austria on its terms and seeing it as the better Germany, characterised the ambivalence of Austrofascist cultural politics.
Prague’s breath-taking riverside location on the Vltava with the Hradčany, Charles Bridge and the Old Town never ceases to excite travellers and tourists alike. Prague has also always been considered a city with a life of its own, with winding streets, dark Gothic architecture and haunting ghosts making it a magical place in literature and art. Oskar Kokoschka (1886–1980) drew on these and other qualities of the picturesquely situated city in his sixteen Prague landscapes, painted between 1934 and 1938 when he was a refugee in the city and before he emigrated to England. In the 1930s, the city became the hub of emigrants in Europe when the National Socialists seized power in Germany and the political climate in Austria also became increasingly conservative with the rise of Austro-Fascism in 1934. Research often speaks of artists or arts in exile, but how much the artists were really affected by their travel stops is often difficult to assess. Often it was the hardship of political persecution and closing escape corridors that drove the artists from place to place in Europe, without one city in particular sticking in their memory or shaping their artistic practices. Chain migration is the term often used for this. Migration research, which has been enlivened by recent events in art history, is concerned with such cities of arrival, which had a particular influence on the emigrants, but which were often close beforehand through personal relationships.