In 1927 Kurt Tucholsky published a poem called Das Ideal (The Ideal),[1] in which he pieces together a fantastic wish list for his life including all the money in the world, an endless, but harmless stream of food and alcohol, and his desired apartment. The latter let him see the Alps in the backyard, and Berlin’s Friedrichstraße in the front, with tight-lipped servants, a rooftop tree garden, and 2 ponies, 4 stallions, 8 cars and a motorcycle in the barn. That is what the new Reader in East-Central-European Modernism 1918–1956 edited by Beáta Hock, Klara Kemp-Welch and Jonathan Owen and published online by the Courtauld Institute achieves: an easily accessible resource for an international audience that will serve as an essential point of reference for students and scholars of the field. Bringing together and translating 27 wide-ranging essays, written in Czech, Slovak, Polish or Hungarian, and not available in English before, is a great achievement. The publication was born out of a course on central European modern art and culture in the MA programme at the Courtauld Institute of Art in London. Whereas there were some anthologies of primary sources, which still could be expanded on in the future, there was simply not a sufficient quantity of secondary literature available for the student.[2] In contrast to the plethora of studies on German or Soviet art in the interwar period, there is still to this day a lack of easily accessible English articles on interwar Czech, Hungarian, or Polish art. This new reader makes good that lack, and the editors should be praised highly for their efforts; there are indeed many stallions in the stable.

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