Tune in to this TV programme and these conferences coming up in the next two weeks to hear CRAACE research fellows discuss their research on Alfons Mucha, Adolf Loos, rural realism, and more.
CALL FOR PAPERS
The Czech Association of Art Historians and the Faculty of Art and Design of Jan Evangelista Purkyně University in Ústí nad Labem, will host the 7th Congress of Art Historians, dedicated to the subject of Infrastructures of (the History of) Art, and announce an open call for papers. The Congress is open to all colleagues working in art history and related fields.
Infrastruktury (dějin) umění
Infrastructures of (the History of) Art
Location: Ústí nad Labem
Date: September 23–24, 2021 (conference) + September 25 (excursion)
[In the event of continued restrictions due to Covid-19 an alternative date will be set well in advance.]
The 109th Annual Conference of the College Art Association will take place online between 10 and 13 February 2021. The sessions have been pre-recorded and will be made available to registered participants from 5 February. Live Q&A sessions will be held in the timeframe of the conference.
CRAACE researchers are involved in two sessions:
Marta Filipová is co-chairing the session From Redevelopment to Responsibility: Environmentally (Un)Friendly Design with Vendula Hnídková. The session is sponsored by the Design History Society. Live Q&As will be held on 11 February at 20–20.30 CET.
Nóra Veszprémi is presenting a paper entitled ‘How to Look Past Isms?’ in the session A Multiplicity of Perspectives at the Museum of Modern Art (In conversation with curators at MoMA). Live Q&As will be held on 13 February at 16–16.30 CET. The session is organised in the framework of the CAA–Getty International Programme, and it is one of the five Global Conversations sponsored by the programme this year.
The latest issue of the Journal of Art Historiography (No 22, June 2020) contains articles by two CRAACE researchers, Marta Filipová and Julia Secklehner.
In her article ‘The Czech Vienna School and the Art of the “Small People”‘, Marta Filipová examines the discipline of art history in interwar Czechoslovakia and its Austro-Hungarian legacies, paying particular attention to questions of modernity, class, and folk art and design. The article focuses on the attitudes of the Vienna School’s followers to folk art and primarily examines the writings of the Czech art historians Zdeněk Wirth (1878-1961) and Antonín Matějček (1888-1950). Their attention to art created by ‘the small people’ of villages and the countryside had clear parallels in the theories of Alois Riegl. Both Czech art historians, however, developed Riegl’s views further. Aware of the impact of modernity and industrialisation on art production, they related folk art to a specific class and the social, economic and ethnic changes in the Czech lands in the first two decades of the twentieth century. The text therefore scrutinises their reasons for the continued concern with folk art in the light of the legacy of the Vienna School.
In the same issue, Julia Secklehner published a report on the conference ‘Questions of Periodisation in the Art Historiographies of Central and Eastern Europe‘, held at the New Europe College – Institute for Advanced Study in Bucharest between 30 November and 1 December 2019.
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.