The Spa Fountain made its first appearance in the section on Tourism of the Czechoslovak pavilion at the Exposition Internationale des Arts et Techniques dans la Vie Moderne in Paris in 1937. The Fountain was one of three works displayed in this space by the Czech artist Zdeněk Pešánek (1896–1965), the other two being a set of free standing sculptures celebrating Electricity and a neon advertisement for the Bohemian spa town of Jáchymov, entitled Radium. The Fountain, as well as the other works by Pešánek, were light-kinetic sculptures; they used light, sound and movement in combination with different, and often novel materials. As an artistic movement, kinetism was established in central Europe in the 1920s. Yet, for artists like Erika Giovanna Klien (1900–1957) or František Kupka (1871–1957) the primary medium of kinetism was painting, which allowed them to explore movement and rhythm through colour, shapes and compositions. It was the Russian constructivists Vladimir Tatlin (1885–1953) and Alexander Rodchenko (1891–1956) and the multimedia artists Alexander Calder (1898–1976) and László Moholy-Nagy (1895–1946) who then translated these effects into sculpture, bringing either controlled or unpredictable movement to an otherwise static medium.
Is it still contemporary to write monographic studies on individual artists? And how would one do so in an engaging manner? These two questions frame the outset of an extensive artist study, whose outcome is Bohumil Kubišta a Evropa (Bohumil Kubišta and Europe). At almost seven hundred pages and weighing approximately four kilograms, the book is a heavyweight in every sense of the word – including the manner in which it seeks to challenge, refresh and extend research on the painter Bohumil Kubišta (1884–1918).
The forthcoming issue of the Austrian History Yearbook features an article by CRAACE research fellow Nóra Veszprémi. Whose Landscape Is It? Remapping Memory and History in Interwar Central Europe examines the transformations of the picturesque landscape tradition and its relationship with concepts of national territory after 1918 .
Session 4 of our workshop Modernity and Religion in Central European Art and Architecture will take place at
18.00 CET on 1 April 2021
Mária Orišková (Trnava University)
‘The Virgin Mary’ or a ‘Woman in Black Hat’? Re-interpretations of Religious Imagery in Modern Art
A portrait of a man and a woman, overlapping in one image through the merging of two negatives. She, looking pensive and serious, he, excited and happy. Dissecting the images, thin white lines add an additional layer to the composition, splitting it into six uneven parts.
With all these different elements, which overlap and interrupt each other, and create a lively impression of two portraits, February’s Artwork of the Month is quite a playful image – despite its rather prescriptive title: Experiment with Two Negatives at the Bauhaus. Indeed, the photograph is one of the most experimental works by its author, the Slovak photographer Irena Blühová (1904–1991). It not only gives us a glimpse into student photography at the Bauhaus but also relates to less explored aspects of the school’s history – social photography and student activism – and the role in it of one of Slovakia’s best-known interwar photographers.