Imrich Weiner-Král, Zidovska Street III, detail

Artwork of the Month December 2021: Židovská Street III (1935–36) by Imrich Weiner-Kráľ

Nowadays, Židovská ulica (Jewish Street), wedged between Bratislava castle and the historic city centre, is only a meagre leftover of what it used to be. Forming one of the central locations of the city’s Jewish quarter, a large stretch of the street was destroyed in 1972 during the construction of the New Bridge (officially called ‘The Bridge of the Slovak National Uprising’), as was a large part of the Jewish quarter with it. Even though more recent years have seen efforts to resuscitate the Jewish heritage of the city, including the opening of the Museum of Jewish Culture in 1993, the destruction of the community’s built environment as late as the 1970s underlines a difficult, near erased heritage. With a focus on the painting Židovská Street III (1935–1936), this article seeks to redraw a connection between interwar Jewish life in the eastern part of Czechoslovakia (Slovakia and Subcarpathian Ruthenia) and a prominent representative of Slovak modernism: the Jewish-Hungarian-Slovak painter and graphic artist Imrich/Imre/Imro Weiner (later Weiner-Kráľ , 1901–1978).[1] Ultimately, it argues that if we interpret Weiner-Kráľ s work in the light of his Jewish identity, we might also question traditional interpretations of Slovak modernism that have seen it primarily as an expression of national identity.

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A New Austrian Regionalism: Article by Julia Secklehner

The upcoming issue of the Austrian History Yearbook features an article by CRAACE research fellow Julia Secklehner. Now available to read in full open access on the journal’s website, A New Austrian Regionalism: Alfons Walde and Austrian Identity in Painting after 1918 assesses the role of regionalism in interwar Austrian painting with a focus on the Tyrolean painter and architect Alfons Walde (1891–1958).

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