When it comes to continuity and rupture, the long career of János Vaszary (1867–1939) is certainly emblematic. He was born in 1867, the year of the Austro-Hungarian Compromise, and died in 1939, at the outbreak of the Second World War. He lived through the 1896 Millennium celebrations, when the self-confident Hungarian state marked its 1000-year existence, the First World War, the collapse of Austria-Hungary, two revolutions and a counterrevolution, the political shifts of the Horthy regime. Meanwhile, he went from being the talented nephew of an archbishop and an indisputable member of the establishment to being attacked and pushed out of his professorship for his liberal and modernist views. The evolution of his art, too, can be characterised as a series of ruptures: he started under the influence of Symbolism and Naturalism, developed a colourful post-impressionist style by the early 1900s, then abandoned it around 1910 for a new style based on anti-impressionist principles and an interest in the avant-garde. His wartime experiences turned him into an expressionist painter of misery; then, in the 1920s, he transferred his agitated Expressionism to peaceful, mundane subject matter as his palette brightened up. Influenced by his stays in Paris, he took on the light touch and urban themes of the École de Paris, and finally developed a characteristic method of colourful small brushstrokes, which he mostly used to depict pleasant beachside and garden scenes.
Modernity and Religion Session 5: Church Architecture in Interwar Hungary
Session 5 of our workshop Modernity and Religion in Central European Art and Architecture will take place at
18.00 CET on 15 April 2021
on Zoom, featuring papers by
Erzsébet Urbán (Budapest University of Technology and Economics, Budapest)
Eszter Baku (Budapest University of Technology and Economics, Budapest).
Modernity and Religion Session 4: ‘The Virgin Mary’ or a ‘Woman in Black Hat’?
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
Modernity and Religion in Central European Art and Architecture: Online workshop
A marked aspect of modernist art and architecture was the search for the spiritual. This has long been recognised, but the involvement of organised religion remains much less examined. Focusing on interwar central Europe, the online lecture series Modernity and Religion in Central European Art and Architecture examines critically the stakes involved in the engagement with religious faith by artists and architects, as well as the role of religiously-motivated state and church patronage in shaping cultural politics.
The workshop is organised in cooperation with the Belvedere, Vienna.
The events will take place on Zoom, every fortnight starting on 4 Feb 2021 and concluding with a roundtable on 13 May 2021. The lectures will begin at 18.00 CET.
‘The Czech Vienna School’ and ‘Questions of Periodisation’: New articles by Marta Filipová and Julia Secklehner
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.